Discography

CAB (00) CAB2 (01) CAB3 (02?) -- Note: I can find no evidence that this album exists CAB4 (03)

Reviews

CAB live line-up - Patrice Rushen, Bunny Brunel, Tony MacAlpine and Virgil Donati Outstanding, classy fusion project that features Brian Auger (Oblivion Express) on keys, drummer Dennis Chambers (Niacin), bass player Bunny Brunel (Chick Corea, Herbie Hancock) and string-shredder Tony MacAlpine (Planet X) on the frets. The second release, CAB2 (Tone Center 2000), is the best of the first three and cooks-up a storm. In a time when jazz-rock is practically comatose, CAB2 is a real barn-burner from start to finish and showcases four mature, seasoned players still hungry to make high quality CDs with no regard for the record charts or "target audience". Recommended. -- David Marshall CAB has changed line-ups a number of times, and has also featured Patrice Rushen on keyboards (she's played with many people ... in the prog world, Jean-Luc Ponty and Herbie Hancock will be familiar to you) and Virgil Donati (Planet X). Oddly enough, I can find no evidence that an album named CAB3 exists, but I'm assuming there was one because there's a CAB2 and CAB4. As suggested by David Marshall's review, I've spelled the name with all caps because they always seem to do so. -- Fred Trafton

Links

Click here for CAB's web site

Discography

Cabezas De Cera (01) Un Segundo (02)

Reviews

Cabezas de Cera - Ramses Luna (varied flutes, saxophone, & clarinet), Mauricio Sotelo (electric bass, grand stick, electric & acoustic guitars, violin) Francicso Sotelo (drums & percussion) On Cabezas De Cera: Lately, I've heard that the music of CDC represents a mix of traditional Rock music and Progressive Rock. Well, well, well. Fortunately, so far I haven't lost my ears so I won't hang the noodles of errors on the ears of my readers. Actually, CDC perform a pure progressive music: this is more than a unique blend of a wide-variety of Progressive Rock genres and sub-genres. Here are general characteristics of all of the album's compositions. Highly complex arrangements with lots of very unexpected changes of tempos, themes and moods, variegated, quirky, fluid to fast, often atonal yet always harmonic solos and passages of Mauricio Sotelo's Grand Stick, electric and acoustic guitar and Ramses Luna's flutes, saxophone and clarinet, as well as interplay between all of these instruments. All of it goes with the accompaniment of Francisco Sotelo's either powerful drumming or soft playing the percussion. The Cabezas De Cera debut album, which is a real progressive gem, has just once again shown that Mexico is very rich in Progressive Rock talents and especially - with regard to the performers whose music is highly innovative, unique and at the same time distinctly Mexican. Despite the fact that, apart from the elements of a few of sub-genres such as Space and Psychedelic Rock, there are structures of the first four main genres of Prog (Classic Art-Rock, Jazz-Fusion, RIO, and Prog-Metal) in the music of CDC, on the whole it doesn't fit any of them. In that way, CDC is nothing else but the band of Progressive’s Fifth Element genre. On Un Segundo : Above all, I was glad to hear that already on their second album CDC rather noticeable transformed their originally unique stylistics. Here, it is as polymorphous as that on the debut CDC album, even though the elements of Prog-Metal were completely lost somewhere on the band's way to Un Segundo. Furthermore, unlike the debut, this album is of a unified stylistic concept, which, from a ProGfessional standpoint of view, is indescribable, or, in other words, is certainly about Fifth Element. Really, one can call this music as Symphonic Progressive based on the composed improvisations; the other can assert that this is nothing else than some of one unusual Jazz-Fusion just veered to a more symphonic sound, which would be incorrect in both of these cases. Most of the parts of the soloing instruments on the album, namely saxophone and clarinet, flute and whistle, electric, semi-, and acoustic guitars, Grand Stick, and marimba, apart from the other percussion instruments and drums, sound neither symphonic nor jazzy. The only aspect of Un Segundo that I am really sure in is that everything on the album was thoroughly composed, and the album itself is filled with an outstanding progressive music. As for the parts of soloing instruments in particular and the highly innovative arrangements that are present on each of the album's tracks in general, all of them are just about Fifth Element whatever one may say. Episodically, a few compositions on the album are marked with Spanish shades, while both of the closing tracks of it are filled with wonderful flavors of music of East. The eclecticism, the frequent use of complex time signatures, kaleidoscopic changes of musical directions and tempos, the high-quality musicianship of each of the band members, as well as the performance by the band as a whole, are the essentials of the second CDC album. Those of you who were happy enough to get the debut CDC album and like it, will certainly love Un Segundo as well, as both of the band's albums are real masterpieces. CDC perform the so-called New Music, which is really worthy to be called the music of the new millennium. -- Vitaly Menshikov

Links

Click here for Cabezas de Cera's web site

Discography

Round The Back (77) International (78)

Reviews

Steely Dan comes to mind and I don't know why because I really don't like them, possibly due to the vocal style. A lot of credit is given to Rupert Hine and his production. Phil Collins also lends a hand but this band is basically a trio - Peter Veitch, Chris Thomson and Mike Ogletree.

Cafe Jacques, a three-piece from the UK, really only have a fleeting association with progressive rock as a genre, as their music is more similar to New Wave (although I'm reminded slightly of Brian Eno's more pop-oriented work). Phil Collins adds some percussion, while John G. Perry (from Caravan) plays bass, and Geoffrey Richardson (also from Caravan) plays an assortment of instruments. I have not heard the first album, but I have their second album, International, and there is a definite pop flavour to it all. The song, "Waiting", is somewhat funky, and Side 2 has some good songs that are quite accessible if you are more into pop music from the late 70s-early 80s period. The song "Knife Edge" (not the ELP song!) has a cool jerky rhythm to it with well-placed keyboards, and is definitely the most "progressive" song of the album. However, if you are looking for Genesis or Caravan inspired tunes, look elsewhere! You have been warned! -- Simon Karatsoreas

Discography

La Citadelle (94) Nouveaux Mondes (00)

Reviews

Cafeine first album, La Citadelle, is not the eighth wonder in the world, but is very good, showing a strength in expression, a nuanced and subtle compositional mode. Vocals are in French and when they are present the music tends to shift into standard mode, but instrumental passages constitutes, I'd say, 70% of the material. This shifting in a more standard mode offers to the public at large a door through which some unfamiliar with progressive rock can walk through and explore. There are also less 'rock' so to speak, more orchestral passages here and there. Cafeine is made out of keyboards, guitar, vox, bass and drums. To which additional instruments such as oboe, flute, charango, tablas, sitar and uillean pipes add colors and textures. For a debut album it shows a great deal of maturity and to-the-point performance by these young players. This is mainly a balanced group effort as no soaring lead takes the spotlight. There are guitar solos but they tend to be melodic. -- Alain Lachapelle

The 67-minute "Nouveaux Mondes" was one of the latest Musea releases in the past millenium and it is obviously failed in comparison with their other compatriot's albums such as Jean-Pascal Boffo's Perfume d'Etoiles and especially Taal's Mister Green that have been released in the end of 2000 too. Despite the fact that almost all instrumental parts in Nouveaux Mondes were played quite original, tasty and masterful way, all the vocal themes are extremely accessible here. Each track on Nouveaux Mondes [utilizes] different male or female singers (lyrics are in French.) Kaleidoscopic changes of such diverse vocalists, as well as an absence of monolithic structure of the album's compositional conception as a whole, makes this one sound like a motley compilation. However, I am once again going to remind you that all the instrumental arrangements on the album are excellent. So at least those of you who love the latest albums from The Alan Parsons Project and the like will love this one too. -- Vitaly Menshikov

Links

Click here to read Vitaly Menshikov's full review of La Citadelle or here for Nouveaux Mondes

Discography

Piano Concerts (77) Tendre Piano Solo (78) Thank You Friends (78 w/ Didier Lockwood) Great Winds (79) Ethnic Duo (80, w/ Yochk'o Seffer) Piano Reves (86) Couleur Rubis (89) Calme dans Le Etoiles (Calm in the Stars) (99) La Fievre Monte (99)

Reviews

Jazz/fusion oriented keyboardist. He was one of the creators of Zao, and he also played keyboards for Magma on their Kobaia (1970) and 1001° Centigrades (1971) albums. -- Fred Trafton

Links

[See Magma | Zao]

Discography

Mas Allá de Nuestros Mentes Diminutas (78) Noche Abierta (80) Canción de la Primavera (81)

Reviews

Spanish flamenco-prog. Mas Allá de... consists of four long tracks. The first two are poppy, meandering and boring, but the second two manage melodic fusion and flamenco tendencies, which form the basis for the much superior Noche Abierta. This is a more mellow album, but the melodies are bright and true, the flamenco feel is spirited, and the light fusion touches remind of Camel. Songs like "Soñé Contigo" and the title tune are memorable, but everything comes together on the soaring instrumental "La Roca del Diablo", their best individual song. -- Mike Ohman

Discography

The Pictures Within (91) For Eternity (94) Stories from Beneath (04)

Reviews

No information on musical style. See web site link. -- Fred Trafton

Links

Click here for Maryen Cairns' web site

Discography

Cairo (94) Conflict and Dreams (98) Time of Legends (01) Also appear on various "Tribute" albums for the Magna Carta label (1995-1999)

Reviews

Cairo Cairo is an excellent, wonderfully-bombastic prog band from San Francisco, California, who have released two albums with the American-based prog & metal label Magna Carta. Luckily, Cairo eschews the usual Magna Carta "prog-metal" sound in favor of a more classic approach. The Dream Theater/Fates Warning crowd would probably walk away disappointed. Their first self-titled album Cairo was released in 1994. On listening to the album a few influences become obviously clear, mainly ELP , Yes, and Kansas (at their most progressive). The heavy ELP-influence stems mostly from the keyboard and drum departments. Cairo's keyboardist, Mark Robertson sounds every bit as good as Emerson in his prime, and it is his bold, complex keyboard sound that dominates much of the album. Robertson uses everything from Hammond organs, to acoustic pianos, to modern synths, making for a colorful wash of sounds throughout the album. Drummer Jeff Brockman also proves to be a very accomplished and exciting player, really adding dynamics and drama to the bands compositions. Cairo also has an excellent vocalist in Bret Douglas, who has a high vocal range ala-Jon Anderson, and really delivers some emotional performances here. The bands use of three and four part vocal harmonies is also stunning! With all of these comparisons you probably think that I'm about to complain about a lack of originality. Not so! This band does manage to throw in enough of their own unique twists and nuances, that they do come away with their own identity. Guitarist Alec Fuhrman adds some eastern musical influences and violin-like passages that sound very fresh and original in their context. Bassist Rob Fordyce adds some nice melodic counterpoints in the arrangements. Some outstanding tracks include "Season Of the Heart", with a very rich Yes-inspired vocal arrangement, "Silent Winter" which features a great melodic structure coupled with a bombastic twisting/turning instrumental break, and "Between the Lines", which shows off Robertson's Hammond organ chops. A real treat for old prog fans is the 23-minute album closer "Ruins at Avalon's Gate", which combines influences from ELP's "Tarkus", with modern guitar sounds and emotional vocals. It also becomes obvious after multiple listens that this band has some very thoughtful and positive lyrics, a nice change from some of the "doom and gloom" prog out there! Between the release of their first and second album, Cairo contributed to Magna Carta's series of prog-rock "tribute" albums. They recorded a fine version of the Yes classic "South Side of the Sky" for the tribute album "Tales of Yesterday". Bret Douglas' makes a great showing for himself on "South Side", covering the vocal lines of Jon Anderson better than just about any else on that album! They also recorded well-executed versions of "Breathe" and "Squonk" for the respective Pink Floyd and Genesis tributes, although their version of the Pink Floyd classic adds little of Cairo's own unique flavor, and serves as more of a note for note re-creation of the original. Robertson later played on the ELP tribute Encores, Legend, and Paradox without his Cairo bandmates, and Brockman likewise played on Magna Carta's ode to Rush, "Working Man". It was four years until Cairo released their second album, 1998's Conflict and Dreams. By this time, bassist Rob Fordyce had been replaced by studio-sideman Jamie Browne. Even though Browne is not an "official" member, he sure makes his presence felt on many tracks! Conflict and Dreams mostly continues in the vein of their debut, but with even more intensity and complexity! There is heavier sound on two on the tracks, "Angels and Rage" and "Western Desert", but luckily the band still avoids the plodding "crunch rock" pitfalls of most of their Magna Carta labelmates. Tracks like the complex (yet highly melodic) "Corridors", and the emotionally gripping "Then You Were Gone", are some of the finest examples I've found of modern progressive rock at it's best. The album closer "Valley of the Shadow" mixes some tight vocal harmonies with an unpredictable melodic structure. The instrumental duet in the middle of this track, (between Brockman's jazzy drums, and Robertson on piano and organ) is a stunning example of this bands talent. Anyone who likes to put down the newer prog bands as being somehow less-complex and interesting than the "classic" bands (i.e. Yes, ELP, Camel), should really give this song a listen! Conflict and Dreams also furthered my opinion that, while Cairo may be influenced by Yes, & ELP (they admit this!), they are not by any means some uncreative clone of these bands. Anyone who likes the creative bombast of the classic prog bands, but doesn't mind some more modern influences in the mix as well, should check out Cairo. The band have a new album planned for release by the end of 2000, and they are still with Magna Carta records. Guitarist Alec Fuhrman has recently left the band, and no replacement has yet been named as of this writing. -- Jeff Matheus

A quintet, Cairo is Mark Robertson (keyboards), Jeff Brockman (drums, electronic percussion), Alec Fuhrman (guitar, vocals), Bret Douglas (vocals) and Rob Fordyce (bass, vocals). Cairo is the band's first release, a self-produced effort recorded in the band's own digital studio. With only six songs, each track is given plenty of development. The question is, is it necessary? Cairo, like Magellan and other "progressive metal" bands, take the ideology of '70s prog and update it with a '90s mentality. The disc opens with "Conception," a brief instrumental with a Middle Eastern theme reflective of the band's name. Created with digital keyboards and crunchy guitar, this song sets the mood for the entire album. Cairo's style embodies a certain degree of complexity (shifting time signatures and episodal compositions) mixed with commercial accessibility (catchy melodies and verse/chorus structure) and digital technology. Take "Season of the Heart" or "Silent Winter," for example. The choruses are catchy and easy to remember, if somewhat limpid in content. Douglas' tenor is clear and lucid, but lacks edge. Fuhrman's guitar solos are melodious and display enough chops to capture the attention of the guitar fan without succumbing to mindless displays of virtuosity and speed that plague bands like Dream Theater. Likewise the same with Robertson's keyboards, though the digital timbres are too generic and overused. The songs are structured similarly, with several verse and chorus passages, followed by long exchanges of guitar and keyboard solos (they need a more interaction, rather than "my turn, your turn"), then a return to vocals to close. This predictable formula lends a sameness throughout the entire album. Highlights are "Between the Lines," a driving piece that finds Robertson fingering the ivory keys of the Hammond organ, for some welcome analog sound. Here, and on the 23 minute "Ruins at Avalon's Gate," Robertson's embrace of Keith Emerson's organ style is fully evident. "Ruins at Avalon's Gate" is the album's highlight, with a good balance of technical virtuosity, melodic content and structural development. "Avalon's Gate" is in the grand tradition of ELP's "Tarkus," of which there are some similarities in melody and rhythm. I think the song runs on a little too long though, needing to be chopped by 5-8 minutes. -- Mike Taylor

Cairo is another one of the neo-prog bands featured on the Magna Carta label. Their debut self-titled release of 1994 is impressive. Their sound is reminiscent of ELP with a fairly good guitarist (Alec Fuhrman, who reminds me of Steve Howe at times), but with a touch of the 1980's Asia/Yes sound. The key member of the group is Mark Robertson, who is virtually a Keith Emerson clone. "Ruins at Avalon's Gate" sounds so much like ELP that you might be able to fool an ELP fan into believing it was some lost track never released before from the 1970s. All of the tracks are over eight minutes in length (except the instrumental intro "Conception"), with the best being "Season of the Heart," "Silent Winter" and "World Divided." Vocals (Bret Douglas) are good, lyrics need some work. They have a sound that tends to grow on you, like many other prog bands. -- Ken Robinson

Links

Click here for Cairo's page on the Magna Carta web site

Discography

Caja de Pandora (83) En Vivo (84)

Reviews

"Pandoras Box" play what might be described as a fusion of classical and jazz, with some subtle uniquely Mexican flavors added - similar in style to some of the early '70s classical bands. One LP from early 80's.

Only instrumental music very much in the ELP instrumental style, which prevented them from really taking off. -- Manuel Arreola

Caldera (76), Sky Islands (77), Time and Change (78), Dreamer (79)

Los Angeles-based fusion band who recorded four LPs for Capitol. Although their sound is firmly rooted in jazz and Afro-Latin music, Caldera's music has a strong prog undercurrent, especially when Eduardo del Barrio's keyboards take center stage. Despite superficial similarities to other fusion and rock bands (e.g., Santana, Return to Forever, etc.), Caldera had a very distinctive, but also quite varied sound. Unlike most fusion bands, Caldera's recordings actually became less commercial-sounding with each release. So, their final LP, Dreamer is the least compromised, and most inspired of the four, but Time and Chance is also worth having. The eponymouusly-titled first LP was pretty decent, largely an instrumental cross between Santana and Heavy Weather-era Weather Report. The second LP Sky Islands was co-produced by Larry Dunn, who was the keyboardist for the R&B group Earth, Wind and Fire. As you might suspect, Sky Islands was a more commercial, R&B-influenced album, but still had its moments. Besides keyboard-whiz Eduardo del Barrio, other members of this fine band included flamethrowing lead guitarist Jorge Strunz (now one half of the new age guitar duo Strunz and Farah), reed player Steve Tavaglione (who went on to join Chick Corea's Electric Band) and ex-Weather Report drummer Alex Acuna. For fusion fans, Caldera is essential listening. That said, an open-minded mainstream Prog fan might also find a lot to appreciate in Caldera's music. -- Dave Wayne

[See Del Barrio | Strunz and Farah | Weather Report]

Discography

Fiore Di Metallo (73)

Reviews

One of the least interesting of the Italian bands. There's just so many that are better!

Unlucky band, they started out with a beat sound but when they recorded this album nobody took any notice of them.

For a couple of years, Progressive was in the air in Italy, and many purveyors of simpler pop music gravitated towards the style, drawn by the music and the potential liras it held. One of these were beat group I Califfi, who had made a wad of singles in the 1960s and broken up at the turn of the decade, as the beat seam ran dry. The original line-up had included guitarist Paolo Toffani (Area) and drummer Carlo Felice Marcovecchio (Campo di Marte), but only bassist Franco Boldrini went on to the line-up that recorded Fiore di Metallo. A collection of nine shortish songs, this album has one foot in the progressive rock of PFM and the likes, and the other in the more conventional pop and rock musics. The grand opener "Nel Mio Passato" really just alternates two simple musical strains: a magnificent 8-bar vocal melody supported by typical layered arrangements, and an unrelated but equally straight-forward instrumental break for rough guitar and screaming synth in double time. Elsewhere the standard song structure is slightly bent but rarely abandoned. Some songs are basic hard rock - or, in the case of "Fiore Finto, Fiore di Metallo", simple beat music with hard-rock drumming and guitar textures - with some trippy synth flourishes. Others overlay wistful Italian pop melodies and acoustic guitar with fanfaric organ and synthesizer work whose pseudo-classical structures sound often both gallant and tacked on. In fact, it is the keyboard playing that makes the difference here. The problem is that keyboard player Sandro Cinotti has the chops, but not really the material to use them on. On the two instrumentals, he lays out jazzy piano, hand-me-down-Gothic-style organ, Emerson-like pyrotechnics or just rather impressively layered pseudo-Romantic piano and synthesizer figurations, all of which almost distract you from the fact that they are just thrown in one after the other or run on the spot without really going anywhere. Hence we have a very nice album that just falls well short of the best of Italian progressive rock. On a sidenote, some songs from Fiore di Metallo also appear on the single album by Toffano's Electric Frankenstein solo project, albeit in different arrangements and with English lyrics. -- Kai Karmanheimo

Links

[See Area | Campo di Marte | Electric Frankenstein]

Discography

Yamanashi Blues (92) Invitation (94) Pathways (98) An opening act: Live on tour with King Crimson (99) Rocks the West (00) Live at the Key Club (01, w/ Tony Levin and Pat Mastelotto)

Reviews

The California Guitar Trio and Tony Levin signing autographs at NEARfest 2001 The California Guitar Trio is a sub-product of Robert Fripp's League of Crafty Guitarists. The guitar trio uses mainly acoustic instruments, except for the occasional addition of electric parts. The tracks on both Yamanashi Blues and Invitation generally show superb arrangements where the three interact in a dazzling manner. Three type of tracks are featured showing the respective influences of Fripp, '50s groups (Shadows, Ventures) and J.S. Bach. Despite a limited context, the sounds are quite varied, show much innovation and are delivered by a production that is just as peculiar. -- Paul Charbonneau

To call these three musicians a "sub-product" of anything is, IMO, really insulting. True, these guys all studied under Robert Fripp in his Guitar Craft school, and have played as part of the League of Crafty Guitarists, but they are brilliant and entertaining musicians in their own right. I've seen the California Guitar Trio twice, but haven't heard any of their CD's. The first time was as the warm-up band for King Crimson for their Thrak tour, where they played their usual selection of classical music (Bach and Beethoven) and other well-known songs re-orchestrated for three acoustic guitars. You'll frequently hear snippets of Bach or Beethoven quoted in other compositions, but these guys have, for example, re-orchestrated the entire fourth movement of Beethoven's 9th Symphony for acoustic guitars. I'm sure Ludwig Van would have approved of the utterly faithful arrangement. The second time I saw them was at NEARFest 2001, where they played with Tony Levin as a guest "fourth" to the trio. In addition to their classical stuff, they also played a number of tunes obviously geared for this progressive fan audience, including a song which merged "Zundoko Bushi" (a Japanese folk song) with King Crimson's "21st Century Schizoid Man". They also played their own arrangements of King Crimson's "Discipline" and Yes' "Heart of the Sunrise", with incredible bass playing by Levin as he played it on ABWH's An Evening of Yes Music Plus. Since they do not sing, they encouraged the audience to sing along with this piece, which was great fun. They also played a Ventures tune ("Apache"), with a somewhat silly ("Robert said we should do this") dance step in the middle of it. They came back for one of the few encores played by the NEARfest day bands, which was Queen's "Bohemian Rhapsody", which the audience also sang along with. I haven't had this much fun in ages (shut up ... I do so have a life). They may not have been the most "progressive" band in the festival, but for my money they were the most entertaining, and they were a great upbeat break from some of the more serious or downright gloomy acts that preceeded them. If you ever get a chance to see them ... run, don't walk to buy tickets! -- Fred Trafton

Links

[See Fripp, Robert | Levin, Tony] Click here for the California Guitar Trio web site

Kaptain Kopter and the Twirly Birds (72), All Along the Watchtower (82), Euro-American (82), Restless (85), Shattered Dreaams (86)

Lead guitarist from Spirit, has a style reminiscent of Hendrix at times, but with a classical influence at times as well. His solo stuff is mostly your basic rock and a little patchy, not at all up to par with the stuff he did with Spirit.

[See Spirit]

Discography

La Terra Dei Grandi Occhi (92) Cita di Frontiera (93) Il Madrigale del Vento (95)

Reviews

"Calliope" is the name of the mystical muse that inspired the name of the band. Their music was inspired by groups like PFM or Camel with keyboards like Hammond, Moog and Mellotron as leading intruments with an harder rhythm section. Their lyrics are about the bad conditions of our planet and the never ending dreams of positive people; for who is still dreaming. Now they're recording the new CD for the 1993, and his name probably will Citta Di Frontiera.

Yet another newcomer from Italy. Calliope combines vocals that hearken to bands like Banco and Museo Rosenbach with heavy metal styled power riffs and frantic keyboard leads. This is a strong release, but I can't list it among my favorites. While containing firey musicianship, the actual note patterns they play are very repetitive. They impress you with raw speed, but don't carry through with mature writing. Not to say their writing is bad, however. This is a good album. Solid metal-styled progressive rock, not unlike the US band Dream Theater, maybe a bit less virtuoso. They remind me most of the Japanese band Gerard in the way their instrumental passages are blistering, though not terrifically difficult to play. The music as a whole lacks the compositional skill of PFM, Yes, or even Genesis. You can think of them along the lines of an Italian version of Camel on speed. Nonetheless I give this a weak recommendation to fans of the new Italian bands and/or progressive metal freaks.

One of numerous Beppe Crovella productions, this Italian band features voice, guitar, keyboards, bass and drums. The compositions on Citta di Frontiera make use of plenty of Italian lyrics, Hammond organ, electric guitar and energetic rhythms. The sounds are rich, varied and mostly electric. This music is faithful to Italian tradition and relies on an energetic approach and an imposing sound. A disc full of excellent guitar and keyboard riffs that give a somewhat heavier tone to the usually more subtle Italian symphonic rock. -- Paul Charbonneau

The band broke up and reformed several times after Il Madrigale del Vento . They are currently reformed again with several new members and are writing in hopes of creating a new CD. -- Fred Trafton

[Do not confuse with US band of same name, with self-titled album on Thick Records label. Not prog.]

Links

Click here for the Calliope web site

Captain Lockheed and the Starfighters (73), Lucky Lief and the Longships (75), Hype (82), Freq (84), Test-Tube Conceived (86)

Robert Calvert, born 1945 in South Africa starts his first artistic experiments in Margate, where his parents had settled around 1947. He begins to write poetry at an early age and founds a comedy-beat combo, similar in the style of the Bonzo Dog Doo Dah Band. In the late '60s he moves to London and gets immediately involved in the evolving psychedelic / underground culture. His poetry gets published in the "New Worlds" magazine, then edited by the nowadays famous SF-writer and one of the founders of the "New Wave" in SF-literature, Michael Moorcock. Via his old friend Nik Turner, Calvert gets acquainted with the band Hawkwind - one of the most vital and influential bands of those days. Calvert becomes their "resident poet" and appears in most of their gigs in between the songs, reciting his own and M. Moorcock's poetry. [See the Hawkwind entry for more details.]
In 1973 Calvert leaves Hawkwind in order to work on his first solo-record - a concept album devoted to one of the subjects he was always obsessed with: flying. Captain Lockheed and the Starfighters subject is the tragicomical story of the F-104 "Starfighter" plane - sold by the Lockheed company to the German army - especially re-designed. Unfortunately it's these extra-goodies that makes more than 140 of these glamorous "Flying coffins" dive straight into the German soil. The album is a wonderful mixture of straight forward rock-songs, two lovely, romantic ballads, blended with incredibly funny Pythonesque sketches. The main actor in those was Vivian Stanshall of the Bonzo Dog Doo Dah Band - other guest musicians were Arthur Brown, Brian Eno, Twink and most of the Hawkwind members. The album draws a lot of attention on Calvert - strangely enough his record company decides to cancel his ambitious solo-tour accompanying the album a few days before it's supposed to hit the road. A disaster in terms of Calvert's career and commercial success. However, one year later, in 1975 he releases his 2nd solo-album: Lucky Leif and the Longships, produced by Brian Eno. This album is quite different from it's predecessor - a lot of different styles and parodies (Country songs and Beach Boys mocking) are used to tell the story of those Vikings who originally discovered America, long before Columbus sat foot on the U.S. of A. Calvert of course also used this scheme to make fun of a lot of American stereotypes. A spendid and many-sided album - obviously and unfortunately too clever for the critics of that time - they doomed it, only to revise their opinion a few months later - when it was too late for Lucky Leif - they album failed the charts - leaving Calvert for some private despair.
In late '75 he guests with Hawkwind at the Reading festival gig and eventually decides to re-join the group and stayed with them through late '78. During this time he keeps writing his poetry, stageplays and other texts. 1977 sees the release of his first poetry book "Centigrade 232." He keeps working continuously, manically. He puts together his "Krankschaft Cabaret" - a mixture of spoken words performance, songs and sketches. In 1981 he writes and performes "The Kid from Silicon Gulch" - and "electronic musical". It's story is a detective story in the computer-hacker milieu - another proof how much Calvert always was in touch with current and future developments. (Indeed, magazines like "Wired" should pay a tribute to Mr. Calvert and devote a cover story to him...he did these things long ago.) 1982 sees the release of his "Hype" project: both as a novel and a record. It's the story of a somehow dumb rock'n' roll character named Tom Mahler, whose managers are only building up his career by the ultimate means of hype, to sacrifice him eventually, getting him killed - and by doing this, creating the final myth that brings them the real, big money. This can certainly be seen as Calvert's revenge on the corrupt music industries. In the following year he collaborates from time to time with "Inner City Unit", a punkadelic band that also features Nik Turner, another ex-Hawkwind member. In 1983 they release the album Ersatz under the name The Imperial Pompadours. In 1984 Calvert releases Freq - another conceptual album dealing in parts with the coal-miners strikes during that time and the relations between man and machines in general. Calvert developes a more minimalistic style - working prominently with synthesizers and a drum computer. He writes two more stage plays: "The stars that played with laughing Sams's dice" - a story about Jimi Hendrix time in the army and a two-hander named "Test-Tube Baby of Mine" - dealing with the subject of genetic experiments, a theme that also became very important, even obsessive for him. Accordingly his last solo-album, released in 1986, is entitled Test-Tube Conceived. It covers a wide rage of subjects - often dealing on the impacts and concequences of modern and future technologies on the individual and the society it lives in: living in the "On Line" state, genetic experiments, artificial life... - reduced song structures of a particular beauty and intensity. Listen to "Thanks to the Scientists" a chilling love song to a perfect biomechanic woman - a futuristic ballad. Another volume of poetry gets published: "The Earth Ritual". In 1987/88 he collaborates with John Weinzierl of the legendary German psychedelic band Amon Düül in the studio on another album. During the final stage of these recordings and just when he had put together a new band, working on new songs and other projects of his own, Calvert dies. He succumbs to a heart-attack in August '88; age 43.
All this might sound more or less like the normal career of a rock-musician - but Calvert considered himself first and foremost as a poet - and in fact, to enjoy his musical works it is most important to pay equal attention to his lyrics. Sadly enough, his books are nowadays out of print - though especially his poetry proves what a strong and exceptional imagination Calvert had. He is without any doubt one of the many extremly underrated artists of his AND our time - as the full impact of the themes he featured in his works is only today becoming visible: the threatening perspectives of genetic experiments - the global media networks etc. A truly contemporary artist - 7 years after he died. -- Knut Gerwers

[See Hawkwind]

Discography

Live On the Road (72, originally a bootleg) Camel (73) Mirage (74) The Snow Goose (75) Moonmadness (76) Raindances (77) A Live Record (78) Breathless (78) I Can See Your House From Here (79) Nude (81) The Single Factor (82) Stationary Traveller (84) Pressure Points (84) Dust and Dreams (91) Echoes (93) Never Let Go (93) Live On the Road '72 (94, Live) Live On the Road '82 (95, Live) Harbour of Tears (96) Coming of Age (97, Live) Rajaz (99) The Paris Collection (Tour Y2K) (01, Live from 2000) A Nod and A Wink (02)

Reviews

Camel (1975) - Peter Bardens (keyboards), Doug Ferguson (bass), Andy Ward (drums, percussion), Andrew Latimer (guitars, vocals) Pete Bardens, Andy Latimer and company forged a unique sound in the early 70s which would later influence many other bands for decades to come. Based on a strong keyboard and a prominent role for guitar, their primarily instrumental sound was influenced by equal parts of classical, jazz and pop/rock, with lots of catchy melodies, time changes and great vocals. Their approach changed over the years, but not the basic style. All of their albums have some good songs on them but some are better than others: The Snow Goose, Nude, Moonmadness and Dust and Dreams are probably the strongest overall, while Single Factor and I Can See... are on the other end of the spectrum. A good place to start is with either of the legitimate live albums (Live Record, Pressure Points), or maybe one of the compilations. Dust and Dreams is the latest from 91, featuring Andy Latimer from the original lineup, and based on the John Steinbeck novel "The Grapes of Wrath," essentially four vocal tracks followed by a sidelong instrumental piece. Landscapes is a best-of, featuring material from most of their albums, and is an excellent introduction to Camel for anyone not familiar with their sound. A bootleg from the 77 tour titled Unevensongs is also worthwhile.

One of the better known UK progressive bands, led by Andy Latimer on vocals and guitar, along with Pete Bardens on keyboards. Most people seem to agree that Mirage through Raindances (with Richard Sinclair from Caravan) is their best era. The music is very melodic, and features a lot of interplay between guitar, flute, and keyboards (including some excellent moog work). Start with Mirage, which contains long songs with well crafted sinuous guitar and moog lines, interspersed with plenty of flute, or The Snow Goose (based on the book of the same name), which is a concept work similar to Mirage in style and execution. With the addition of Richard Sinclair and Mel Collins on Raindances, the music takes on a slightly jazzier direction (ala Caravan) though remaining very strong in the guitar/moog department along the lines of earlier work. Because of Collins, the saxophone adds another dimension to their sound that isn't found in earlier work. Breathless (the last album with Bardens and Sinclair) is similar to Raindances though some songs take on a slightly more commercial direction. In fact, under pressure from record execs, The Single Factor is nothing but commercial oriented AOR-styled prog and I Can See Your House From Here (which featured Kit Watkins of Happy the Man) isn't much better and are best left for completists. Between these two was Nude, which seems to be relatively popular among fans. There is still an AOR bent in some songs but there is also a return to the strong melodic sensibilies and excellent keyboard work found on early albums. Dust and Dreams is a triumphant return for Andy Latimer. The first few tracks contain vocals (which aren't too bad but not where the band shines) but the rest is solid, excellent instrumental prog, featuring equal doses of Latimer's signature guitar style and solid keyboard playing. There are a few available compilations. One is Compact Compilation which features tracks from Mirage through Raindances and is a good way to experience what many consider Camel's best period. However, Echoes features songs from all their albums beginning with their first and culminating with Dust and Dreams. This 2CD set is probably the best introduction to the band. If you'd rather stay away from comilations, go with Mirage or Snow Goose for their early work and Nude and Dust and Dreams for later work. There is also a live album (Never Let Go) which again features songs from nearly the entire of Camel's history, plus all of Dust and Dreams.

One of the most influential progressive bands, especially Andy Latimer's guitar and Pete Bardens' keyboard playing. If you haven't heard any yet, here's an album-by-album guide to help you decide where to start: Camel: The first album. There's some (VCS3) synthesizer, but the emphasis is on organ, Bardens' playing on the heavy instrumental "Arubaluba" is unparalleled. The sound balances between the heavy stuff and lighter, more melodic fare ("Curiosity," "Mystic Queen"). The best songs: "Never Let Go," "Slow Yourself Down" include both extremes in the space of one song. Vocals straddle the line between unobtrusive and bland, with bass player Doug Ferguson being the primary culprit in the latter category. Latimer and Bardens tend to be much more interesting singers. Drummer Andy Ward proves to be quite excellent, shining on the two instrumentals: "Six Ate" and "Arubaluba." Mirage: Adding full-force synthesizer and emphasizing the harder edge of the group's sound make Mirage very exciting. There's some softer passages on which Latimer plays flute for the first time, but the real order of the day: fiery fusion-tinged prog jams highlighting Bardens' big keyboard sound with lots of great synth runs and Latimer's Gilmouresque guitar playing. "Lady Fantasy" is one of their best tracks. Highly recommended. The Snow Goose: A collaboration with experimental composer David Bedford, who did the orchestral arrangements, resulted in The Snow Goose, an album of programme-music based on Paul Gallico's novel of the same name (Reportedly, Gallico sued the band in the mid 70's for copyright infringement!). There are some of the high energy moments that made Mirage so great, notably the climactic "Preparation/Dunkirk," yet the emphasis is on the band's softer side. As a mix of rock and symphonic music, it works in a way that most such attempts can only hope to. Try this one too! Moonmadness: Not unlike an attempt to make another Mirage, but many of the songs on this one are much lighter. Of the softer songs, "Song Within A Song" and "Airborn" are probably the best. There are a couple of Mirage-styled numbers, "Another Night" and the great "Lunar Sea," which may be the best Camel instrumental of all time. Some of Latimer's best solos and Bardens' best keyboard playing, but it's Andy Ward's drumming that makes this really a treat. The way he hangs together in the tricky 15/8 (!) time-signature at the end is spellbinding! Rain Dances: The first album with ex-Caravan/Hatfields bassist Richard Sinclair. There's a stronger fusion bent to much of the music: the very jazzy "One Of These Days I'll Get An Early Light" and the great "Skylines" in particular. There are also lots of fine, more straight prog based instrumentals, "First Light" especially, but also the meditative "Elke," which features Brian Eno in a guest-starring role, and the neo-classical title song. Ask people what their favourite song from this is, and they'll inevitably mention "Unevensong," which is one of Bardens' best keyboard performances, and Latimer's most impassioned vocals are on this one. Sinclair's vocals on "Tell Me" are beautiful, and on "Metrognome" he adds a touch of whimsy. The best of the post-Ferguson albums. A Live Record: Includes some essential songs from previous albums: "Lady Fantasy," "Unevensong," "Lunar Sea," "Skylines," "Song Within A Song," plus "Ligging At Louis'," an instrumental which appears on no other Camel album. The jazzy version of "Never Let Go" with Richard Sinclair on vocals is almost unrecognizable when compared to the original. Disc Two is dedicated to a complete live version of The Snow Goose album. Captivating. A pretty good sampler, if you can find or afford it. Breathless: "Echoes" is generally regarded as a classic with superb Bardens keyboard work, and the fusiony "The Sleeper" is also top-notch, unfortunately little else of the album is. Mostly dedicated to the ever lightening of their sound, reaching a nadir with the dance-orientated "Summer Lightning." That song has a nice bridge though, obviously that's the part composed by Sinclair (I heard him reprise it live as a part of one of his improvisational ramblings). The rest is pretty poppy. I Can See Your House From Here: Only Latimer and Ward remain. Colin Bass joins on bass, Jan Schelhaas (ex-Caravan) and Kit Watkins (ex- Happy The Man) join on keyboards. The dual keyboards are used to striking effect in the otherwise mundane "Wait." This album has its share of clunkers: "Remote Romance" is annoying, sequencer-heavy synth-pop, "Your Love Is Stranger Than Mine" sounds like the sort of music Genesis would soon be making (In fact, Phil Collins appeared on that song as guest percussionist, perhaps that's where he got the idea from). Still, "Hymn To Her" is a very pretty melodic progressive piece with fine keyboards, while "Ice" is a moving, dramatic instrumental with great guitarwork. Also interesting is a version of the Happy the Man song "Eye of the Storm," which I like better than the original. Nude: An attempt to re-write The Snow Goose in a more accessible style--with vocals. Most of the vocal tracks are poppy and dull, some of the slower-moving instrumentals are nearly narcotic. There are several more energetic passages (notably "Docks," co-written by, but not featuring Kit Watkins) which generate excitement. Best vocal track: "Lies," which is not unlike good Supertramp. Other interesting tracks: "Changing Places," on which Gaspar Lawal plays African percussion, and "Nude's Return," which seems to be an elaboration of "The Procession" from Mirage. The keyboards on the album are played by Latimer and Duncan Mackay, with a guest appearance by Schelhaas on "The Birthday Cake". Latimer's first collaboration with lyricist/conceptualist Susan Hoover. The Single Factor: Really a Latimer solo, with Ward indisposed with a hand injury. Bardens is back behind the keyboards, and Anthony Phillips collaborates with Latimer on many of the tracks. I've heard only one track: "Sasquatch," a nice short instrumental. The prevailing system says to avoid this one. Stationary Traveller: Band consists of Latimer, ex-Kayak keyboardist Ton [sic] Scherpenzeel, and a number of members of Alan Parsons Project. I haven't heard it, but it's reported to sound much like that band in their prime, so if you like, etc., etc.... Pressure Points: Another live album, featuring both Latimer and Bardens and most of the Stationary Traveller line-up. Another one I still have yet to hear. Though short, it's reported to collect the best of the post- Breathless era, plus select tracks from before (notably "Rhayader/Rhayader Goes To Town" from The Snow Goose). Dust And Dreams: I heard it once--live. Some good atmospheric keyboard work, and some fine Latimer guitar playing. Not unlike a superior, more rocking rewrite of Nude. A good one. The album features Latimer, Scherpenzeel, Colin Bass and ex-10cc drummer Paul Burgess. One bad point-- Colin Bass' vocals. He obviously has trouble staying in key. -- Mike Ohman

My favourite Camel album remains Moonmadness (1976), which was the first album of theirs that I bought. At first, I was captivated mainly by Pete Bardens' exquisite keyboard work. Since then, I have also been equally enchanted by Andy Latimer's beautifully melodic, flowing guitar lines. This being a very mellow, symphonic band, the rhythm section never really grabs you by the throat, but they are certainly no slouches. A Live Record also comes strongly recommended; this includes many of my favourite bits from Moonmadness, as well as a complete performance of Songs from The Snow Goose, the album which preceded Moonmadness. I haven't listened to the studio version of Snow Goose enough to form a solid opinion, but the live version is fantastic. And the orchestral backing is not overdone or wretchedly bombastic, as often happened when symphonic prog bands got rich and hired a big-name orchstra. It is bombastic to be sure, but mainly serves to accentuate and underscore the band. Other Camel albums that don't come quite so highly recommended: Mirage hints at what is to come, but is marred by some rather lame straightforward 70's rock tendencies (almost sounds like Uriah Heep at times!), fairly wretched lyrics, and lousy sound quality. Rain Dances, which followed Moonmadness, is a much more mature-sounding recording than Mirage, but at times gets a little *too* mellow and poppy-sounding. I blame this on Richard Sinclair, a rather overrated singer and bassist who is not without his charms, but somehow fits better with the likes of Hatfield and the North than Camel. On the bright side, Rain Dances features the ubiquitious Mel Collins playing sax on several tracks; his warm, glowing sound fits in wonderfully with Bardens' keyboards and Latimer's guitar. (Collins makes the same contribution on the first disc of A Live Record.) I'd stay away from Breathless.) I'd stay away from Breathless: it has one fantastic song (the title track) and several mediocre entries; the rest is so bad it's embarassing. Apparently the albums following Breathless (up until the mid 80's) are of a similar vein. However, Camel have made something of a resurgence in the 90's; Dust and Dreams is a solid album, but a mere shadow of past glories. -- Greg Ward

The first, self-titled release by Camel has long been awaiting an issue on CD, and finally, Camel Productions bought the rights from MCA, and have released this work. The music features the original Latimer/Bardens/Ward/ Ferguson line-up and is very much along the lines of their classic Mirage, perhaps not as glossy, but every bit as good. As with their early material, the melodic interplay between keyboards and Latimer's fluid guitar is very prominent, with a good degree of improvisational passages, a la Caravan. Some of the finer tracks on this are "Mystic Queen," "Six Ate," and the concert favourite, "Never Let Go." On The Road 1972 is the first of (hopefully) many live performances by Camel that has been issued on CD, from the master tapes. This is primarily an effort to "beat the boots," by offering legitimate recordings of better quality at low prices. The CD contains the tracks Lady Fantasy, Six Ate, White Rider, and God Of Light Revisited, performed by the original line-up, who recorded their debut album, described above. The recording quality is not pristine, and has the occasional dropout, which is to be expected from a recording of that age, but the performance is true to form. Rain Dances was released in 1977, and features the "classic" Latimer/ Bardens/Ward core, with appearances by the ubiquitous Mel Collins and Richard Sinclair (of Caravan). The music is very characteristic of the group, a mellow offering of keyboard/flute/guitar-based progressive rock, chock-full of melodic lines and Latimer's laid-back vocals. This release was very represen- tative of the earlier Camel, hearkening back to classics such as Mirage and The Snow Goose. Nude, released in 1981, featured Kit Watkins on keyboards, along with contributions from Jan Schelhaas (ex-Caravan). The sound was heavier on the drums compared to previous releases, and, perhaps, more up-front than previous releases. Yet, the essential Camel trademarks, Latimer's guitars and vocals, and melodic sensibilities remained, making this release a good indicator of the eighties flavour of Camel, similar at times to the Alan Parsons Project.

Another great, undernoticed band is Camel. Though not in the same league as Gentle Giant, their albums are at least on par with Genesis, Yes, ELP, and the rest of the big guys. Essential albums are Mirage, The Snow Goose, Moonmadness, and Rain Dances. Ignore albums after Pete Bardens left (1979's I Can See Your House From Here and on). They're much less adventerous. Andy Latimer's guitar work reminds me of David Gilmour-meets-Steve Hackett. Pete Bardens is notable for his great sense of texture. He's got the warmest Moog tone this side of... well... this side of anybody.

Great stuff, one of the biggies. Early stuff is more progressive. Mellow stuff with great guitar work. Highly recommended. Start with Mirage (more progressive) or Rain Dances (more jazzy). Later albums tended to sound like the Alan Parsons Project, because half the band was APP (Chris Rainbow, David Paton, Mel Collins). Camel is presently issuing CDs on Andy Latimer's (vox/gtr) private label. Buy 'em and keep him in business!

An incredible group. They should be considered right up there with Genesis, King Crimson, ELP, etc. On some albums, a bluesy feel, on others straight symphonic progressive rock. Nude is a concept album about a Japanese WW2 sailor stranded on a desert island for 30+ years, and who doesn't know the war is over. Mirage is a must have. The Snow Goose is the progressive version of Paul Galico's book. INCREDIBLE! To start, I'd have to say to get Pressure Points. It's an incredibly well produced album, and shows what Camel can do! They also recently released a 2-cd set (echoes?) which has a full concert from 1990, from beginning to end. What everyone else has said is true. If you like incredible symphonic progressive music, this band is a must!

Essentially guitar-driven prog, Mirage makes for enjoyable listening, but it's hardly wonderful. It lacks urgency, and what's more, it feels oddly conventional. This album has none of the surprises or quirks I expect from a good or even average prog band. That isn't to say it isn't well-done; on the contrary, the musicians play well and the songs are fairly well crafted, but each song seems to be missing something vital. It may grow on me, but I doubt it.

Camel is one of my absolute favourite bands (along with Genesis). I like mostly the old stuff (Mirage through I Can See Your...). But the last two studio albums just makes my knees tremble. They're so great! Tremendous compositions and outstanding guitar play! I think Harbour of Tears actually is one of their greatest albums even tough it's more sympho/neo than the older albums (Mirage, Moonmadness, etc.). It's (and Dust and Dreams) just is a great piece of work, and to all fans of Camel, Marillion, Pendragon etc. GET YOUR ASSES UP AND BUY IT! I guess it's one of those albums you just don't get fed up with. -- Lasse Odegaard

Concerning Rajaz: At the very least, the best work of Latimer and Co. since Stationary Traveller (1984). Mostly quite calm, it is filled, however, with the spirit of Camel. I feel this album as a projection of the band's stylistics of the second half of the 90s into the present day. -- Vitaly Menshikov

After he played on their successful Y2K tour, Nathan Mahl's leader and keyboardist Guy LeBlanc continued his association with Camel by co-writing their next album. You can hear him on The Paris Collection Live CD, and on the studio album A Nod and a Wink. However, he was forced to cancel his appearance in Camel's farewell tour starting with NEARfest 2003 due to his wife Dawn's heart attack (I talked with her at NF'04 and she seems to be doing well now). LeBlanc was replaced for the U.S. part of the tour by Tom Brislin at the last moment. Brislin had previously toured with Yes in their 2002 tour, and also recorded with Meat Loaf. He did an incredible job, playing all of Peter Bardens' parts on the old songs perfectly. Camel alumnus Ton Scherpenzeel replaced Brislin for the European leg of the farewell tour. -- Fred Trafton

Links

[See Bardens, Peter | Caravan | Distinguished Panel of Experts | Hatfield and the North | Kayak | Guy LeBlanc | Nathan Mahl | National Head Band | Scherpenzeel, Ton | Sinclair, Richard] Click here for Camel's web site

Music From a Round Tower (96)

Music From a Round Tower is described by Broken Records (the label that released the album) as "The piece is a summing-up of Campbell's musical experiences to date, from his childhood in Egypt and East Africa, through early Stravinsky to synthesised soundscapes and performance art. The music is both beautiful and intelligent...." Dave Stewart guests on Music From a Round Tower.

[See Egg | Stewart, Dave]

Discography

Campo Di Marte (73)

Reviews

Brilliant instrumental album. Classic line-up plus a flute. Has a hard rock edge although very progressive. Although there is no singing the tracks are full of changes and creativity. Another very good early 70's Italian band. Closest sounding band is De De Lind. -- Jean-François Cousin

I was initially intrigued by the attractive album cover depicting an earthen, renaissance-like martial theme of five (I'm assuming representing the band members) juxtaposed armed men, each impaling a part of their respective bodies with their weapons. The music is based on a recognizeable theme played on flutes and is very well crafted. The guitar work is influenced by Jan Akkerman's (of Focus fame) fuzzed dexterity and balanced with the pastoral lyricism found on keyboards and acoustic guitar typical of so many Italian bands. Overall this Italian band blends its Meditterreanean melodicism with convincing hard rock. This album may be said to be close in feeling to Museo Rosenbach's Zarathustra, although displaying more finesse and cohesiveness. -- Philip Andrews

On the sleeve of their only album Campo Di Marte declare a bloodless war against, among other things, indifference, stupidity, political apathy, phony respectability and, ultimately, war itself. Thirty years after the fact these ideas sound just as out of time and out of place as the music on the album itself. "Primo Tempo" doesn't so much open the album as roar out of the speakers with snarling guitar riffs and granite-like bass thumping whose closest counterpoint in the progressive sphere is King Crimson's "Pictures of the City". Yet in between these barrages softer sections emerge, carried by soft organs and softer vocals. Then acoustic guitar, flute and elegant French horns take over for a while and build delicate sound castles in the air - only to have them shattered by the violent re-emergence of the hacksaw guitar. And so it goes on, through seven movements whose limits seem more or less arbitrary, because this is really an album-length work where themes constantly re-appear: brambled and angular rock riffs morph instantly into classical keyboard arpeggios and Genesis-like melodic drama ("Terzo Tempo" particularly draws from the early-Genesis book of recipes), and pastoral smooching turns into electric rape. It works marvellously too, with only the lengthy final movement getting a bit laboured in trying to recap all the devices employed in the previous six movements and, unsuccessfully, to find a profound enough ending to it all. What De De Lind tried to do on their album, Campo di Marte pull off here, thanks to richer instrumentation (the modestly-used Mellotron is a particularly good touch here) and even richer writing that accommodates lot of the central ideas of Italian progressive rock, even though not as smoothly as some of the better-known bands. -- Kai Karmanheimo

Discography

Prehistoric Future (68) Monster Movie (69) Soundtracks (70) Tago Mago (71) Ege Bamyasi (72) Future Days (73) Limited Edition (74) Soon Over Babaluma (74) Landed (75) Unlimited Edition (76) Flow Motion (76) Opener (76) Saw Delight (77) Out Of Reach (78) Cannibalism (78) Can (79, reissued as Inner Space) Delay (81, recorded '68) Incandescence (81) Only You (82, Edition of 100 numbered cassettes in tins) Rite Time (89) Fischerman's Friend Remixes (90) Sacrilege (97) Can Live Music (99, Live, Recorded 71-77)

Reviews

Important, innovative, original German space band. The way they mixed electronics, avant-garde and "world music" ideas in a decidedly rock-orientated format was unlike anything anyone had done before, and was influential not only on latter-day improvisational prog bands such as Djam Karet and Ozric Tentacles, but also on new-wave and industrial bands. The band is graced by the best players Germany had to offer: Holger Czukay is probably second only to Hellmuth Hattler as far as German bass players are concerned. Jaki Liebezeit is an amazingly agile drummer, and on nearly all songs adds more than just drums, playing a wide array of different percussion instruments to keep the sound intriguing. Michael Karoli has a very individualistic guitar style consisting of smooth chordal glides and staccato plucking. And keyboardist Irmin Schmidt's training under avant-garde composer Karheinz Stockhausen really pays off musically, though he usually plays only organ and electric piano, you'd never guess it from the amount of electronic devices hooked up to his instruments. Here's a synopsis of most of their albums.: Delay 1968: Earliest music, but not released till much later. Haven't heard this, but it's probably not unlike Monster Movie. Monster Movie: Their de facto debut (1969) is quite raw sounding, with a sort of heavy psychedelic bent with noisy proto-electronic distortion on just about every instrument. American vocalist Malcolm Mooney has a maniacal screaming style, which is often most inappropriate to the accompanying music. He sounds eerily like John Lydon of Public Image Ltd. (especially on the punkish "Outside My Door"), a man I'm sure listened to more than one Can album in his day. The 20-minute "Yoo Doo Right" manages to create some of the audio-hypnosis that would be explored on future albums, but in very embryonic form. Soundtracks: Selected music from the various films they did soundtrack work for. One track features Mooney, the rest have new vocalist Kenji "Damo" Suzuki on them. It owes its existence to the fact that there was a need to fill in the gap between Tago Mago and the previous LP. I haven't heard it. If you like it, though, you might try searching out the super-rare soundtrack album to the film The Deep End, which features Can music as well as songs by Cat Stevens. You'd probably be more successful finding a copy of The Deep End in the foreign films section of a video store. One track from the film is included on Soundtracks. Tago Mago: Far-out double LP. Damo comes into his own vocally here, consisting mostly of spaced-out mumbles punctuated with fits of manic shouting as well as some totally bizarre onomatopoeic noises as on "Peking O." Their mix of trance music and rock works best on the shorter tracks: "Bring Me Coffee Or Tea," "Mushroom," "Paperhouse"--but the 18-minute "Halleluwah" is also effective. The 17-minute "Aumgn" is one of the more strange side-long improvisations the German scene produced, reverb-heavy, featuring bubbling electronics, deep anguished upslurred vocal moans (by Schmidt), and bowed double-bass (by Liebezeit). Best track: probably "Oh Yeah," with an intro featuring backwards vocals and a backwards guitar solo, and vocals in Japanese (Damo's native tongue. He usually sings in English when he chooses to sing in any language at all.). Ege Bamyasi: Takes the ideas first essayed on Tago Mago and refines and perfects them. Opens up with perhaps the best Can track ever: "Pinch," which totally blew me away the first time I heard it. Perhaps most dramatic is Schmidt's use of electronics, which is going beyond his own keyboards and beginning to take over Caroli's guitar, as per Eno in Roxy Music. Liebezeit's percussion is all over the place on this track. Likewise one of Czukay's and Damo's best performances. Another dramatic use of Schmidt's electronics is the ten-minute "Soup," which builds slowly from light whirling electronics out of which materializes a percussive, gently accelerating jam which continues mounting until BOOM! A sudden burst of unexpected, nearly cacophonous electronics, with Damo toying some more drifting tune with prominent flexitone wailing by Liebezeit, Damo's vocals are even melodic on this one, and "One More Night", a number in 7/8 with fine, tight playing by the rhythm section. "Spoon" was apparently a hit single in Germany! Everything comes together on this one, possibly their best. Essential listening. Future Days: Trying something different here, grand washes of keyboard sound resembling alternately a massive string-orchestra or ocean waves. Karoli's dreamlike guitar really comes into play in a big way here. The 20-minute "Bel Air" (a.k.a. "Strike A Light") is some of the most cohesive jamming you may ever hope to hear. Also some of the most beautiful, the music resembles the auditory equivalent of an impressionist painting. One of the best albums for beginners. Soon Over Babaluma: With Damo gone, Karoli is forced to take over most of the vocal chores. Stylistically, he seems to be doing the same sort of things Damo was on Future Days. If you played the two back-to-back, you'd probably never know he was gone. He's also beginning to play the violin a lot, as on the reggae-inflected "Dizzy Dizzy." "Come Sta, La Luna" is a fine vehicle for Schmidt's piano and Karoli's pizzicato guitar. Electronic moans fade in and out as Schmidt provides a rather distorted conversational lead vocal, with Karoli singing the chorus. The rest of the album is improvisational, not unlike Future Days only more intense, less "symphonic." "Splash" is another track in 7/8 with many opportunities for guitar and violin solos by Karoli. This is THE best place to start, and of the "impressionist" period, the most worthwhile. Landed: Except for "Unfinished," which is more of the impressionist stuff, and quite good at that, this album proceeds in a more rock-orientated format, as if picking up where Ege Bamyasi left off. The rock tunes that make up the bulk of the album, like "Full Moon On The Highway," are steeped in irreverent use of electronics, like voices made to sound like shouting children. One of the most interesting moments is the perversely entertaining "Hunters And Collectors," featuring an almost creepy lead vocal by Schmidt, which forms the motival base for "Vernal Equinox," an improvisational jam. Flow Motion: Adds Rosko Gee on bass, ex-Traffic. Czukay's influence in the group is diminished, contributing occasional sound-effects and such. I haven't heard it, but "I Want More" was a hit single from this album. Unlimited Edition: A bunch of rare unreleased items of the past, collecting from just about all prior lineups of the group. Anthologizes the previously released Limited Edition with an extra discs' worth of music. Haven't heard this either. Opener: A compilation. Saw Delight: Czukay is hardly on this one at all. Another ex-Traffic member, percussionist Rebop Kwaku Baah, is brought in. Some R&B, pop, etc. influences surface, creating more commercial, less inspired music. Even the improvisational "Animal Waves" seems to be stepping into already well-tread territory. Not bad, but pretty bland, and not really very satisfying in the end. Out of Reach: Czukay's gone altogether by this point, I think. Generally regarded as their most commercial, least worthwhile album. I haven't heard it. There's a version of Offenbach's "Can Can," which is supposed to be interesting, though, if only for the unlikelihood of such a band doing it. Can: Supposed to be a slight return-to-form, this is another one I haven't heard. Issued also as Innerspace, with one track different. Cannibalism I & II, Incandescence: More compilations. Rite Time: A reformation featuring Mooney on vocals again. I heard a little of it, but it didn't really stick with me. -- Mike Ohman

Can were one of the better known of the German undergound psychedelic/space scene. They put out several albums throughout the '70s. I have six Can albums. The earliest I have is Monster Movie from 1970. This album is a lysergic day dream sounding somewhat like a cross between early, psychedelic Pink Floyd and Yeti-era Amon Düül II. The rhythmic foundation is a simple, repetitive bass grooves and a dash of swirling organs, over which fuzzed-out guitar solos are played. Meanwhile, the drummer is all over the drums and various percussion instruments to provide the driving force. This album includes a psychedelic take on the child's poem "Mary Mary So Contrary." The side long "Yoo Doo Right" is a solid dose of psychedelia. A bit dated by today's standards but essential listening for the psychedelia crowd and fans of early Amon Düül II and Brainticket. The middle '70s, from around '74 to '76 is the best period for the material that I have, which includes Landed, Soon Over Babaluma and Flow Motion. I've also heard parts of Limited and it is similar to the others from this period. Each of these is an excellent dose of experimental and spacey psychedelia. There are a generally several shorter 3-5 minute songs then two or more songs ranging from 6-13 minutes. The shorter songs are more straight-forward though still on the experimental side ala Amon Düül II's Wolf City or Vive La Trance. The longer songs range from very fuzzed out psych to very dreamy cosmic tunes similar to early Floyd and Amon Düül II, just like Monster Movie, excepted more focused if that's possible. Any of these would be good starting places. Soon Over Babaluma, in particular has the wonderfully ethereal "Chain Reaction" and "Quantum Physics" which covers 18+ minutes of spacey psychedelia. I've got to find out what happened between '70 and '74 but I'll bet it was pretty cool. Out of Reach, from 1978, is OK but I find their earlier stuff to be better. The original driving force of Can, Holger Czukay, has left the band. The rhythm is basic with a beat that reflects the dance music of the late '70s. The trademark fuzz guitar is still there as is the overall psychedelic vibe but it's easy to tell these guys were running out of ideas. As with Monster Movie, there's another take on a children's rhyme, this time "Jack and Jill." The second half of the album finally gets together with a decent song called "Give Me No Roses" which is then followed by a very nice eight minute space excursion. But other than this, there's not much to recommend this album. Inner Space is a mixed bag. The first few songs are typical of the work of their mid '70s work circa Flow Motion and Soon Over Babaluma but it also contains some songs with *very* disco influenced beats. It sounds like a collection of leftovers that were never released on previous albums. The nicest cut, despite the dance beat, is "Sunday Jam" which has a very tasty guitar solo. But overall, the album is only recommended to the Can Completist. -- Mike Taylor

Can were probably one of the finest and underrated bands to come from the German "Krautrock" scene. Of their albums, I can recommend Delay through to Soon over Babaluma. Delay was the first album recorded although it was not released until 1981. Delay is very psych orientated with fuzzy guitars and obscure lyrics. Standout tracks would be "Uphill" a fuzzy/garage voyage through unknown waters, and "Little Star of Bethelem" a Syd Barrett-esque ditty. With Monster Movie can develop much more and we can see where they will head on later albums. "Yoo Doo Right" is a delightful drone/rollercoaster ride with pounding drums from percussionist extraordinaire Jaki Leibzeit. Next up comes Soundtracks for which Can composed tracks for German Art- house films. This is really a transition album as original vocalist Malcom Mooney leaves and is replaced by Dami Sazouki, a Japanese beatnik. Many tracks are "fillers". "Mother Sky," being the best, is a searing oddessy through acid-rock, coupled with one note drone bass and impressive drumming. At this point it should be stated that all the musicians in Can were either classically or jazz trained. Other choice cuts are "Don't Turn the Light On" and "Soul Desert". Tago Mago combines two ideas: 1) the lengthy space-rock jam, e.g., "Paperhouse" and the 18min "Halleluhwah"; and 2) noise experiments of "Peking O" and "Augmn." It is worth noting here that Can's bassist Holger Czukay was distancing himself from bass and getting more involved in Radio and tape loop effects. Ege Bamyasi is arguably their finest work. Can go for a space-rock theme here. "Pinch" is probably the best dance song ever written. Excellent shuffle drums and weird sound effects set the tone of the album. Also Can experiment here with "Vitamin C". The album on the hole sounds more polished than Tago Mago. With Future Days, Can develop their space-rock jams into a fine art with only four cuts on the album. Very few vocals are on the album which lead to the departure of Damo Sazouki. With tracks like "Future Days" and "Bel Air" Can are developing highly structured pieces with an air of improvisation. Soon over Babaluma 1974 Can are beginning to run out of ideas although "Dizzy Dizzy" is excellent. Guitarist Michael Karoli sings and plays violin. The rest of the tracks are lenghty jams which don't have the same edge as their previous work. Can start to move away from space- rock and towards eithnic/world/Jazz fusion. Limited and Unlimited Edition are a collection from 1968 to 1974. After Soon over Babaluma I'd say forget it as Can loose there fresh approach for which they were reknown. -- Jonathan Dunne

Only You is listed in "The Can Book" (p. 184-185) as being issued on the Pure Freude label (PF23) in 1982. Edition of 100 numbered copies [cassette only] in a tin. -- Chris Meloche

Links

[See Czukay, Holger | Phantom Band | Traffic] Click here for Spoon Records Can web site

Discography

Lo mejor del clan (The best of the clan) (68) Libérate (Free yourself) (70) Canarios vivos (72, Live) Ciclos (75)

Reviews

Spanish ensemble's Ciclos may be *the very best* progressive adaptation of a classical work that I have ever heard. On this one they do "Four Seasons" over a double LP and do it in such a mindblowing and classic way, that all I can say is I'm going to throw away my Pictures At An Exhibition album! Weird electronics, stunning classical rock, and some out and out space music highlight this classic of the genre.

Los Canarios created an outstanding 73 minute work based on Vivaldi's Four Seasons. Obviously, the music is very Baroque in nature because of the original but Los Canarios's version is much heavier because of the electric instrumentation of a rock band. You may instantly think of ELP's take on Pictures at an Exhibition but Los Canarios take a more refined approach relative to ELP's bombastic and sometimes erratic interpretation. But don't be fooled: Ciclos is a heavy and dynamic work in its own right with plenty of synth and organ work as well as guitar. Vocals (in English) are heard throughout but I'd say the album is dominated by instrumental sections. Ciclos is a classic of the Spanish progressive scene. If you like heavy prog dominated by synth and guitar, check this out.

Fans of symphonic progressive with flip their tails over this one! THE best rock adaptation of classical music EVER, and that is NO exaggeration! It's a rock adaptation of Vivaldi's "The Four Seasons" with some original music added to make the concept flow. The original music consists of electronic music, vocal music and the like, but based on Vivaldi's original themes and motives. The mixture of multiple keyboards (Mellotrons, synths, acoustic and electric pianos), powerful vocals, some rock, some choral and some operatic and manic Akkermanesque guitar make for varied and interesting listening. The arrangements of the string quartet pieces for rock band work beautifully, especially on the adaptations of the "Spring" and "Winter" sections, which work surprisingly well as rock music. They even include a short "Christmas carol" in one track! Originally a 70-plus-minute double album, issued on a single CD. My highest recommendations go out to this one!. -- Mike Ohman

Los Canarios was a Spanish band that started playing back in the late 60's. At the beginning, they played Soul and R&B influenced music, singing mostly in English. They got some hit singles in the Spanish charts such as "Get on your Knees" and "Free yourself" and opened concerts for The Beach Boys. The leader, Eduardo "Teddy" Bautista disbanded the group to take the military service. When he finished it, he reformed the band, still keeping the name, but the members and the concept were completely different. At the time (early 70's) he was experimenting with synthesizers, being a pioneer in Spain. The result of this experimentation lead the band to their magnum-opus: Ciclos a cult classic of the symphonic rock genre. Released in 1974, Ciclos is a concept album with an interesting story line that goes from the creation of the Earth to the Apocalypse in 2700 A.C. The album is divided in four acts "Paraiso Remoto" (Remote Paradise), "Abismo Próximo" (Next Abyss), "Ciudad Futura" (Future City) and "El Eslabón Recobrado" (The Recovered Link) telling the life of the son of Matrix, who represents the nature, created by Arquitecto Supremo (Supreme Architect), during this period of transformations with different names in each act (Embryo, Febos, Metántropo and Anacros respectively). Each act is based musically in one of the Seasons of Vivaldi's Four Seasons. It features vocals in English, Spanish and Latin. The instrumentation is very rich, and the presence of synths is vital. The arrangements of the classical work are very precise. The musicians involved in this magnificent work are: Eduardo "Teddy" Bautista: Arrangements, keyboards and vocals. Alain Richard: Drums and Percussion. Antonio García de Diego: guitars, vibraphone, cello and vocals. Mathias Sanvellian: keyboards and violin. Christian Mellies: bass guitar and keyboards. Alfredo Carrión: Arrangements. Rudmini Sukmawati: Soprano voice. Because of bad distribution, the recording is very hard to find. It was a double LP when it was first released. It has been edited in CD with a 16 page booklet, but still the CD is hard to find. If you're a hardcore fan of progressive rock or just curious or starting to explore the genre, this is some material you should check. Teddy Bautista is still in the music business, composing scores for TV, producing (He produced the spanish version of Jesus Christ Superstar) and is in organizations defending copyrights. -- Juan M. Sjöbohm

Links

[See Carrión, Alfredo]

Discography

The Rhythm And The Rhyme (00, Promotional) Avenues (02)

Reviews

Avenues is the debut CD by the American band Canvas. It is a very reasonably priced double CD ($10.99 from Kinesis), but it would have been far better as a single CD. Sometimes you get what you pay for. At their best, as on the opening track of CD One, "Liberal Son," Canvas are an unusual blend of progressive rock and jazz. "Liberal Son" features a strong melody and an innovative interplay between synthesizer and trumpet that sounds fresh and modern, and not at all derivative of 70's jazz-rock. However, at their worst, Canvas sounds like a bad Chicago cover band, with exceptionally banal lyrics. CD One also features two other very fine songs. "Highways and Byways" is old school prog: keyboard dominated, stop-start dynamics, and tempo and instrument changes. It also contains more strong melodies. "Getting There" is even better. It has a clever, contemporary sound, with nice guitar and synthesizer parts. But once again, the lyrics leave much to be desired. Unfortunately, CD One also contains seven other songs. The less said about them, the better. CD Two has a much more Kansas sound to it, except for one weak jazzy track. "Another Day" is very good, featuring a nice chorus rendition of the famous Irish Blessing and more clever tempo and instrument changes. But they should have stopped there. Most of the rest of CD Two is a kind watered down AOR Kansas, almost country-rock at times. Avenues is fine to pull a few tracks from if you're going to mix them with others on a homegrown tape or CD, but that's about it. However, it will be interesting to see where Canvas goes from here. With some judicious editing and self discipline, they could develop into a fine band. -- Charlie Cowles

Links

Click here for Canvas' web site and Internet Radio station

Discography

From Scratch (72) Voice (74) Liar (76, Compilation)

Reviews

This is masterful melodic rock with progressive overtones and one of the most underrated groups of all time. They combine intelligent arrangements with some of the best lead and harmony vocals you will ever hear. The musicianship is top notch as well. Lots of unexpected twists and turns that will put a smile on your face. The best of the two is Voice and is one of my favorite albums. It includes the incredible side-long track "Circumstances." Although this is not prog-rock per se, I believe it will appeal to most proggers.

Frutti Per Kagua (72)

Rock band.

Aria Mediterranea (78)

Ex Procession.

[See Procession]

Antico Adagio (78)

Ex Aktuala.

[See Aktuala]

[See Barimar E Capricorn College]

Appunti Per Un'idea Fissa (72)

This band was popular because when they recorded their first 7" and the label introduced them as an english band. The album has a sound like ELP with a good A side where we find the song "Patetica" by Beethoveen and a bad B side where Red Canziani demonstrate some banal songs.

Another Italian one-shot. This is a rather raw, organ-based attempt at classical prog, incorporating a version of Beethoven's "Pathetique" sonata adapted for organ. Strong but old-fashioned. All the CD versions of this have appalling sound. -- Mike Ohman

Discography

Safe as Milk (67) Strictly Personal (68) Trout Mask Replica (69) Lick My Decals Off, Baby (70) Mirror Man (70) The Spotlight Kid (72) Clear Spot (72) Unconditionally Guaranteed (74) Bluejeans and Moonbeams (74) Bongo Fury (75) Two Originals Of Captain Beefheart (76) The Captain Beefheart File (77) Shiny Beast (Bat Chain Puller) (78) Doc at the Radar Station (80) Ice Cream for Crow (82) Music In Sea Minor (83, Compilation) Top Secret (84, Compilation) Legendary A&M Session (84, EP) That's Original (88) I May Be Hungry But I Sure Ain't Weird (92) and some more compilations

Reviews

Captain Beefheart and the Magic Band - 1975 promo shot Take early Frank Zappa, take away the avant/classical and substitute it with blues, and that might give you a fair idea of what this guy sounds like. Vocals are bizarre and beyond insane, served up with his classy harmonica chops and demented perspective. Best albums are from the period when he was on Zappa's "Straight" label: Trout Mask Replica and Lick My Decals Off, Baby are two of his best, although some of the later ones are really good too. Warning: Weird stuff - not for everyone!

A very weird band! The vocalist, Captain Beefheart himself, sounds like a good-natured but completely deranged old lunatic, and the lyrics, which range from sinister to nonsensical to rhythmically poetic, encourage that image. The main instruments played seem to be electric guitar and horns (at least one of which is a trombone), and a rhythm section which includes noises both bizarre and silly. No keyboards, except for the occasional piano and accordion number. The music itself is hard to describe. Frenetic, spastic, deranged and silly, it has an atmosphere of barely contained chaos. Song titles like "When I See Mommy I Feel Like a Mummy" or "Tropical Hot Dog Night" might give you a bit of an idea... The band's "tightness" ranges from loose to completely free. Captain Beefheart often played with Frank Zappa. (E.g. in "Willie the Pimp," on Zappa's album Hot Rats).

Again just checking that somebody has mentioned him. Totally unique. Overwhelmingly imaginative. Superb lyrics. Music is incredibly complicated but still flows. Infinitely easier to listen to than transcribe. A fresh outlook on life, the universe and everything.

Trout Mask Replica is generally considered his masterpiece, and judging by the half-dozen or so Beefheart albums I'm familiar with, I'd have to agree. The Good Captain puts you in an entirely different world. People often describe other bands as unique; this word applies to Captain Beefheart better than any other artist in modern music. In my experience, he seems to fall into the "either you love him or you hate him" category; I've actually cleared unwanted guests out of my house in a matter of seconds by starting Trout Mask Replica. Captain Beefheart (aka Don van Vliet) is, according to my latest information, retired from music and living out west--the desert in Arizona, if I'm not mistaken. He's also a fairly good artist (paint-on-canvas type art, that is) and has been busy with that in recent years.

Don Van Vliet (alias Captain Beefheart) started his career in the middle of the 6ties in an obscure Californian band called the Omens, with which also Frank Zappa is said to have played. In 66 he recorded his first LP with the Magicband. Since then he has published a series of strange and weird LPs, which are considered as one of the hallmarks of US progressive rock (not only by me). It's quite difficult to describe his style; maybe: psychedelic/dada/blues/jazz/punk/progressive/experimental rock. All his LPs are recommended with two exceptions. Stay away from Unconditionally (which is quite conditional) and Bluejeans, on which van Vliet tried to do something more popular, but ended up with bluespop. Definitely the most extreme is Trout Mask Replica produced by Zappa, where you find weird dada-minimalism's. Shiny Beast and Doc are maybe his best. Very pure and direct, a lot of weird guitar and trombone and Van Vliet's deranged vocals at their best. Bongo Fury is a live recording from a concert tour with Zappa (mostly Zappa music on it). You will also hear Don van Vliet on the Zappa LPs Hot Rats, Zoot Allures and One Size Fits All. Two Originals was a reissue of Lick and Spotlight Kid as a DLP. Beefheart File and That's Original both are reissues of Safe as Milk and Mirror Man also as double LPs. I May be Hungry offers a different mix of the Strictly Personal session. Music in Sea Minor and Top Secret are compilations of tracks from Safe As Milk and Mirror Man. -- Achim Breiling

Links

[See Zappa, Frank] Click here for Captain Beefheart's web site

Captain Beyond (71), Sufficiently Breathless (72), Dawn Explosion (77)

Blues-rock band with vocals by Rod Evans (from Deep Purple's first few albums). Lots of people really like this band, but they fail to get me excited. There are naturally a few similarities to early Deep Purple though Captain Beyond has arguably more progressive elements, particularly after Deep Purple went into the heavy metal realm. Also in this band is Lee Dorman, previously of Iron Butterfly. If you like a hard rock styled prog (or early Deep Purple) check out Sufficiently Breathless, then Captain Beyond. I haven't heard Dawn Explosion. -- Mike Taylor

Captain Beyond was a prog rock supergroup of the early to mid '70s, featuring Rod Evans, ex- of Deep Purple, Rhino Rhinehardt and Lee Dorman of Iron Butterfly, and Bobby Caldwell from the Johnny Winter band. Their sound varied over the course of the three albums that they released, from very heavy, to Latin-tinged and back to a heavier, funkier, approach. Captain Beyond, the first release, consists of a couple of loosely organized suites and several independent songs. The sound is absolutely guitar driven (there are no keyboards whatsoever on this album), with lots of odd time signature stuff; outstanding hard rock, odd time riffs all over the place. "Raging River Of Fear" is particularly noteworthy for it's pounding 4/4 "Voodoo Chile" riff that dissolves into 3/4 with a purely psychedelic slide guitar glissando and spooky harmony vocals. Sufficiently Breathless was the followup; I've heard it characterized as "Santana meets Pink Floyd", and from what I've heard of it, this may not be far off. The title cut was a minor FM hit and can still be heard occasionally on hip classic rock stations. This was Evans' final work with the band. Generally speaking, what I've heard from this release is sloppier than the first album, less precise in its execution, and a great deal lighter. Dawn Explosion, the third and final Captain Beyond release is a hybrid in sound, drawing somewhat from both previous releases. Willy Daffern took over on lead vocals, making the band an all American effort. Daffern has a very different, more melodic vocal quality than Evans. He givesthe band a more straight ahead rock sound. This release isn't as intense as the first one, but does return to more complicated time signatures and layered guitars and vocals. Much of the album, unfortunately, seems to keep one eye on the near commercial success of "Sufficiently Breathless." "Do Or Die," "Icarus" and "Fantasy" from side one all cross radio accessibilty with some of the more prominent approaches of the first album; only on "Sweet Dreams" does the band try a really interesting idea, a floating, Hendrix influenced off-time guitar ballad. Side two fares a little better; the music is funkier and odd-metered, climaxing in one of Caldwell's percussion furies on "Oblivion," the album's most notable reference to the first release. Captain Beyond has always been my favorite; the early editions on vinyl are somewhat collectable because of a glued on hologram cover. Dawn Explosion is probably the next most interesting release. A comparison in sound could be drawn to Deep Purple, I suppose, especially with the first album, although the complicated time signatures are beyond what Deep Purple was attempting at the time. This is fairly hard sounding rock. -- Tim Schultz

[See Armageddon (UK) | Deep Purple]

Discography

Caravan (68) If I Could Do It Again I'd Do It All Over You (70) The Land of Grey And Pink (71) Waterloo Lily (72) For Girls Who Grow Plump In The Night (73) New Symphonia (74) Cunning Stunts (75) Blind Dog At St.Dunstans (76) Better By Far (77) The Album (80) Back To Front (82) The Battle Of Hastings (95)

Reviews

Caravan's original line-up circa 1968 - Pye Hastings (guitar, vocals), Dave Sinclair (keyboards), Richard Sinclair (bass, vocals) and Richard Coughlan (drums) An outgrowth of the Wilde Flowers, the ORIGINAL Canterbury band which also produced Soft Machine, Caravan were one of the leading lights of that scene. Fusing a folky rock sound centered around the guitar and dulcet voice of Pye Hastings with a jazzy element based in the keyboards of David Sinclair, they arrived at an original sound only hinted at by Traffic, yet remaining uniquely Canterbury. Dave Sinclair's organ never sounds like the swirling churchy tones people usually use, rather an almost reedlike tone with the punch of an electric guitar. Lead vocals are handled by Hastings mostly, but bassist Richard Sinclair's (cousin of David) deeper, rounder voice is also heard a great deal, and is often better remembered. The original quartet is rounded out by drummer Richard Coughlan, who plays complex parts with ease, yet uses a very basic drum kit. Here's an album-by-album synopsis: Caravan: The Caravan sound is immediately present, albeit in embryonic form, with more pronounced folk elements, and some light psychedelic bits as well. Mostly consisting of lovely melodic songs with sailing vocal harmonies, Hastings' chiming guitars, and with a strong organ slant. "Love Song With Flute" is the first Caravan song to include that instrument, I think played by Brian Hopper. The first true foray into prog is also here, the eight minute "Where But For Caravan Would I?" Vocals alternate between Hastings and Sinclair, most of the song is in 11/8, and the styles alternate between folkish acoustic guitar reverie, and heavy jazz-tinged heavy rock sections with prominent organ. Good debut. If I Could Do It...: The folk, and some of the psych elements are still intact. This album features the first of many appearances by Jimmy Hastings (no relation, apparently) on sax and flute. His appearance on many of the tracks makes the jazzy edge to their music much more pronounced. They begin here to string several shorter ideas into long medleys, incorporating a greater deal of jazzy improvisation and rock jamming, with Hastings beginning to use electric guitar with a vengeance. The 14-minute "For Richard" (actually a medley of four pieces including the 6-minute "For Richard" within it) is a classic of boundless energy. Worth it for this alone. "Limits" is obviously edited. In The Land of Gray and Pink: Considered by many to be their finest hour, I don't think it's quite that great, but it has some of the finest Caravan music on it. This is the last Caravan album with an overtly folky sound. The best-known song here is the whimsical "Golf Girl", on which the band is fronted by Richard Sinclair. In fact, this album has more Sinclair vocals more than any previous or subsequent Caravan album. Two undisputed classics here: "Winter Wine" and the 23-minute opus "Nine Feet Underground". The latter one has some of Dave Sinclair's best organ soloing, some great hot jamming, and also introduces an overt symphonic element to the sound. Recommended. Waterloo Lily: Dave Sinclair out, Stephen Miller (brother of Phil from Matching Mole/Hatfield and The North) in. Miller's keyboard playing is based more around piano than organ, and gives the band the apex of the jazzy sound they've always been pointing toward. The title song, "Nothing At All" and "It's Coming Soon" are the fruits of this. The highlight of this album is the 12-minute "The Love In Your Eye" suite, which mixes grandiose symphonic orchestration with the new overtly jazzy sound. One of their best, a great starting point. For Girls...: After the last LP, Miller and Richard Sinclair quit. Their replacements were Derek Austin and Stuart Evans, respectively. This lineup never recorded. When Austin and Evans left, Dave Sinclair returned on keyboards, and John G. Perry joined on bass. Also added to the band was violist [sic] Geoff Richardson. Also, this is the first Caravan album with synths. They try more of the ideas with orchestral ideas begun with Waterloo Lily, and they work excellently. "Memory Lain, Hugh" features arrangements for woodwind and brass, and is made memorable by an infectious guitar riff. The ten-minute "A Hunting We Shall Go" medley features full orchestra, and incorporates a passage from Soft Machine's "Slightly All The Time". Possibly influenced by Gil Evans. Other good tracks: "C'thlu," "The Dog, The Dog, He's At It Again" and "Be All Right/Chance of a Lifetime." The first has a classic Caravan jam, the second a great Sinclair synth solo, the last incorporates electric cello. Perry's Steve Winwoodes