SATIN WHALE

"Deseret Places" opens with flute but it kicks into gear very quickly. A calm before 1 1/2 minutes then it kicks in again with organ leading this time. Soon it's the guitar leading the way. Vocals after 3 minutes as it settles some. man this is good. The flute is back after 4 minutes as the vocals stop. Pulsating organ then the vocals return after 5 minutes.

"Seasons Of Life" opens with multi-vocals as guitar, drums, bass and organ join in. Nice prominent bass here then the guitar leads as we get an instrumental section. It settles as the vocals return as these contrasts continue. A change in sound after 3 minutes. man that organ sounds amazing in this instrumental section. The guitar starts to lead before 5 minutes then the organ before the vocals return before 6 minutes.

"Remember" opens with guitar before piano and outbursts of power take over. The guitar then leads with bass, drums and organ supporting. A calm before 1 1/2 minutes with bluesy guitar as the vocals join in. It kicks in before 3 minutes as the vocals stop. Contrasts continue. Fantastic! The organ leads after 4 minutes then the guitar takes over and he's lighting it up. It settles some but then the guitar is back lighting it up. The organ takes the lead around 7 1/2 minutes before the guitar returns late. A melancholic tune.

"I Often Wonder" is where I hear the sax for the first time. Bass, drums and organ help out before the organ leads as the sax steps aside. The guitar and organ trade off 2 minutes in then we get vocals before 4 minutes. Nice. The guitar starts to solo after 4 1/2 minutes as the vocals stop. Vocals are back as contrasts continue.

"Perception" is the almost 13 minute closer. It opens with bass, keys and light guitar. A nice change before kicking in with the guitar leading. Vocals follow. I like that driving rhythm 3 1/2 minutes in as the vocals step aside and the organ plays over top. Piano after 5 1/2 minutes as the organ stops. It turns jazzy, well at least the bass is jazzy before 7 minutes as the guitar solos. The organ is back trading off with the guitar before 8 minutes. Sax 9 1/2 minutes in then it settles some before 11 minutes as the organ runs. It picks up with guitar before 12 minutes then calms down to the end.

My only experience with SATIN WHALE previously was with their 1978 live album which was more Symphonic and I'm not a fan of it. Apparently they went into that style with the followup to this one. I'll stick with this beauty.

Right from the energetic and groovy opener `Six O'Clock', the change in sound from the debut is instantly noticeable. The pumping sax and trickles of Hammond organ that darted around `Desert Places' are still there, but the piece is far more compact and instantly tuneful backed up by a chorus of female chorus singers, and the lead vocals of Ken Traylor offer crisp English in stark contrast to guitarist/saxophonist/flautist Dieter Roesberg's heavily accented rasp on the debut. The title track `Lost Mankind' is a lightly playful symphonic piece with serene Mellotron, whimsical flute and humming organ that reminds a little in moments of a track like `In the Mountains' from Earth and Fire's second album `Song of the Marching Children', and `Reverie' is a pretty piano and organ interlude. Then it's all guns blazing for the eleven minute tour-de-force `Go Ahead', jammed with honking infectious sax blasts, jazzy darting flute, red-hot blazing guitar wailing and the Hammond organ out in full-blast, all woven to clever reprising themes. There's so much variety delivered with exemplary skill throughout this one, and it also serves as a fine showcase for new drummer Wolfgang Hieronymi.

The flip side's `Trace Of Sadness' is a relentless and boisterous Hammond-drenched rocker, `Midnight Stone' perhaps resembles a swooning E.L.P-like ballad where Ken's vocals almost remind of John Wetton of King Crimson, and breezy flute flits in and out of soft rocker `Song For 'Thesy' with jazz overtones and organ-driven regal bombast that echoes Focus, M. Efekt and Jethro Tull. Closer `Beyond The Horizon' again comes close to the first album with its extended instrumental stretches of snappy drumming, waves of break-neck frantic Hammond organ runs, joyous flute and bluesy swagger-drenched electric guitar wrangling, and the subtle and skilfully executed tempo-change sprints reveal again what a talented bunch of musicians these guys were.

`Lost Mankind would prove to be a real one-off from the group, with both the heavy Hammond-dominated rocking of the debut and grander symphonic fancy of this one largely removed by their more straight-forward and frequently AOR next album `As a Keepsake' in 1976, and so too singer Traylor as the proper band themselves resumed the vocals from then on (it would actually be very interesting to learn the circumstances as to how he came to be involved with the band in the first place!). The punchy debut might be their real special one, but `Lost Mankind' has stronger playing, ardent ambition and energy to spare, and if you're new to this superb German band, this would be a fine place to start.

Four stars.

This is probably the closest to Krautrock they have ever did, but don't expect the experimentation of Can, Faust, Amon Duul II, early Tangerine Dream, Ash Ra Tempel, Agitation Free, etc. Here they often go in the Jethro Tull vein, but often go for extended jams, lots of nice guitar and organ soloing. The vocals are OK, nothing to write home, but at least not bad. Much of the album follows this same path, some short vocal passages, extended instrumental passages. One gripe could be, given its 1974 origins, that this album sounds rather behind the times and sounds more like a 1971 or '72 recording, but then you can say the same thing of Eloy's Floating or even Mythos' Dreamlab. But then from hearing my share of 1974 recordings, I came to the conclusion that the year, musically, seemed to have one foot in the early '70s (the guitar/Hammond organ approach was still commonplace) and the mid '70s (synthesizers were starting to play a bigger role). It's obvious that the Satin Whale was a bit behind the times for synths, as they still didn't use one, or more likely couldn't afford one (of course, they used synths on later albums like As a Keepsake). I don't let the "behind the times" sound bother me, it fits comfortably with your other prog albums released a bit earlier. This album gets a lot of praise in the prog community, and for good reason. It's too bad this was never properly reissued. It did received a bootleg reissue on CD on Germanophon, but it would do so much better had Repertoire been able to get their hands on it (after all, that label had reissued many great titles from the Brain label, it's probably either they can't get the rights to it, or the band members are embarrassed and don't want a reissue, just like Kraftwerk did with anything pre-Autobahn). I'm glad to own a turntable and the original LP, and lucky to find at a real decent price. Great stuff I can highly recommend!

Everything else they ever done seems to get compared to Desert Places, and I didn't feel the need to do that. As a Krautrock album, As a Keepsake crashes and burns. As a "crossover prog" album, this rather good, and if you like crossover prog, this comes recommended. It might not have the extended jams of Desert Places, but it had nice songs and nice arrangements. I don't think they sold out, the production and the music is a bit too sophisticated. They go a bit in the Barclay James Harvest route here, which I guess was intentional, as they had toured with them. I even prefer this over the BJH album from the same time (Gone to Earth). This album has several songs I really enjoy including "Holidays", "Devilish Roundabout", "Going Back to Cologne" and "Maree". "Devilish Roundabout" features some nice acoustic guitar passages, plus I really love that vibraphone solo. While I enjoy Desert Places as much as the next proghead, I was surprised to find this enjoyable, and worthy of four stars.

Despite heading to the mid-70's, Satin Whale played a typical, old-fashioned Kraut/Progressive Rock, a bit like TOMMOROW'S GIFT or EILIFF, with also references to the British scene, mostly because of the English lyrics and the evident bluesy influences.On their debut album they present a rich and energetic Progressive Rock with long tracks, characterized by the extended instrumental themes, the good interplays, the dynamic jams and the powerful rhythmic parts.Their music is based on the strong rhythm guitars, the jazzy rhythm section, the sharp riffs and the constant use of Hammond organ in quite a psychedelic mood.There are also some JETHRO TULL-eque flute bits and more discreet Classical inspirations in some preludes or the use of harsichord, but the main force of the release remain the abstract jamming sessions, the Hard Rock parts and the solid solos on guitars and organ.Surely there are a few sudden surprises to be found in the album, which is heavily influenced by the German monsters of the recent past.But the band delivers some good breaks and ''Desert places'' contains plenty of shifting climates to satisfy the Prog listener.

Consistent and well-performed Kraut Rock with decent performances and lots of psychedelic moments in a Hard Rock enviroment.Not outstanding, but definitely rewarding.There is also another vinyl release out from 1979, again on the Brain label, featuring a different cover.Recommended.

Sadly, this Satin Whale album doesn't live up to the standard they set on their one true classic, the 1974 debut `Desert Places' . That album rocked with a fury, had endless killer guitar and organ work, and even if the vocals were a little rough around the edges, the actual melodies were very decent. `As a Keepsake', however is often blatantly commercial and undemanding, I'm not sure if this was the band's decision, or the result of pressure from their record label demanding some `hits'. The album is especially ruined by some over the top and unpleasant female backing vocalists. They show up on most tracks and really kill the album. While I guess it gives the band a unique angle, it's really a detriment to the album. They didn't need them for the near classic debut album, and they didn't need them on this.

(I wonder if the three `Chorus' girls credited on the sleeve were actually girlfriends of the band, so the guys put them on the record as a favour? If so, I hope you saw a lot of action, fellas!)

The dramatic intro to opener `Holidays' really gets your hopes up with some nice playing, if a little modeled on Yes with the grumbling bass, Howe like guitar licks and Wakeman keyboards, but it ends up just a straightforward pop/rock song with very slight progressive moments tacked on. Very positive but kind of clichéd lame lyrics about `getting away from it all'. Pretty forgettable, but you can tell the band are great players.

`Reminiscent River' sets the template for much of the poorer elements of the album. A decent band playing an unremarkable commercial arrangement, swamped with a sappy string arrangement and overbearing female chorus vocals. Mostly horrible.

`Devilish Roundabout' is up-tempo and very positive, really gets your foot tapping! Great acoustic playing, cool organ, rumbling bass on this one, thanks to those above-mentioned Yes elements, and there's a strangely effective xylophone solo in the middle! Love it, really makes me smile....until right at the end, those female backing vocalists come in and kill the thing almost dead. Luckily it's brought back around and saved briefly by a short and sweet electric guitar solo and acoustic outro. Not too bad, and probably the best track so far.

`A Bit Foolish, A Bit Wise' has a beautiful atmospheric intro, but gives way to a heavily orchestrated and uninteresting section. The middle does have a lovely synth and flute solo, before being joined by a classy electric guitar solo...and then cut off again by those female singers and a reprise of the male vocal section and strings. Disappointing.

Side B's `Shady Way' sounds almost like a Focus outtake, with plenty of snappy flute fills, solid drum work and a nice wailing guitar solo before the wretched female singers and strings come in. Starting to see a pattern forming here? Beautiful outro, though.

We now hit a brief run of a few tracks where the album picks up and the quality increases quite a bit! It's to be short lived, however.

`Goin' Back To Cologne' has probably the best band vocals on the album, wrapped up in a very accessible and catchy melody. Again, reminds me a lot of Focus with the thick organ, and a killer Wakeman-like synth solo in the middle, with fiery drums. Also, a round of applause please ? NO female backing vocalists! Really good track!

`Kew Gardens' has sweet vocals from Thomas Brueck, with laid-back electric piano throughout the whole piece. The sax solo in the middle sounds slightly schmaltzy, but I'm quite forgiving of this one, as there's no female chorus vocals, and a nice sentimental and reflective lyric to go with it. The few little harmonica interludes here and there are a nice touch, too.

Finally - an instrumental track!! `Maree' is a great upbeat and energetic track, with wonderful thick organ, heaps of keyboard variety, and a great back and forth between the flute and guitar about two minutes in. Very tight arrangement, the terrific bass is really upfront and prominent on this one too. The band really cooks on this. More of this please, fellas!

Then we plummet back to earth badly with the cheesy and commercial `No Time To Lose', which is easily the poorest track on the album. It does have a positive lyric, but it's crippled by overuse of the female backing singers, a lame chorus and even a very slight disco influence. The band don't even get any standout moments on it to justify us listening. Awful!

`As A Keepsake' borders very slightly on AOR, a collection of mostly straightforward rock with progressive elements spliced in. Very well played, with a nice clear production, a number of fantastic parts, but it's all quite undemanding and such a letdown from their knockout debut album. All the great elements from the first album show up in brief little moments throughout this one, but it's wrapped in a number of forgettable commercial tracks and those obtrusive female singers. Just listen to how much the album comes alive in the instrumental sections, and you kind of get an idea of what we missed out on.

Sadly, only two stars - but those couple of tracks on the second side are rather good!

This was taken from a show in Cologne, Germany in November of 1977. It opens with an orchestral sample on "No Time To Lose" as the crowd cheers. The gentle guitar and vocals that take over 1 1/2 minutes in turn fuller quickly. "Song For Thesy" features flute and chunky bass with drums to start. Vocals after a minute along with guitar. Organ joins in later. "Maree" is an instrumental and one of my favs. The drums, guitar and organ lead as we get some energy. Strings before 2 minutes then an organ solo before 3 minutes. A proggy instrumental. "Desert Places" opens with flute and drums as organ and bass join in too. The guitar comes in and eventually leads. Vocals 3 1/2 minutes in as it settles. This doesn't last for long though.

"Reveree" is a short piece with strings and a classical vibe. "Holidays (By The Seaside)" opens with the crowd cheering and clapping along. They like this one. Vocals before 1 1/2 minutes then we get an instrumental break 3 minutes in but it's brief. "A Bit Foolish-A Bit Wise" has a great sounding intro with prominant guitar. Vocals 2 minutes in. Flute before 3 1/2 minutes and strings too. Nice guitar solo a minute later. "Crossing The Line" ends dics one with organ to start as the guitar and drums join in. Vocals after 2 minutes.

Disc two starts with "Reminiscent River" where the piano and vocals are contrastsed with the heavier sections. This really sounds like a Neo-Prog tune. "Goin' Back To Cologne" also reminds me of Neo but just the synth work. "Hava Nagila" is one of two straight epic tracks. This one picks up 2 minutes in with the drums, guitar and organ standing out. Ripping guitar after 3 1/2 minutes. Frampton-like guitar 5 minutes in. It does settle with piano and drums before 7 minutes. Then we get a prolonged drums solo from 8 1/2 minutes to before 14 minutes. I liked it actually, he was impressive. "Perception" is another long one approaching 19 minutes. What I like about this one is the way they just seem to play and jam and you can tell they're having fun. "Sweet Little Sixteen" is a Chuck Berry cover and I must admit this makes me smile. A lot of joy in this old track.

A low 3 stars from me although fans of this band will no doubt eat this recording up.

Which is a shame, because not every German band needed to be as seditious as CAN (to cite the obvious example: both groups hailed from the same vicinity of Cologne). To their credit, Satin Whale would later riff all over the Hebrew folk song "Hava Nagila" on their 1978 live album "Whalecome", which I suppose might be considered almost a daring act in a country notorious for its anti-Semitism, especially when juxtaposed against the old minstrel tune "Camptown Races" (dooh-dah, dooh-da, so forth).

But that would be years later. The band's debut album in 1974 was a hard-hitting, heavy rock effort driven by the blazing guitar of Dieter Roesberg and the Hammond organ grunge of Gerald Dellman, with some breathy flute for added variety. Comparisons to early JETHRO TULL wouldn't be out of order, but any similarity is most likely coincidental.

On its own merits the album is surprisingly vital, perhaps too light on memorable melodies but full of muscular jamming, with the best moments reserved for when the singer takes a back seat and the music is pushed to center stage, as in the 13-minute album closer "Perception". The English language titles and lyrics don't lend it any distinction, however, and the band certainly doesn't sound very German, perhaps the key to their enormous success in their native country at the time. But that anonymity of style works against them in the long run: they might be just about anyone (except maybe Tull).

More than two years have passed since anyone reviewed a Satin Whale record on these pages. It might be another two years before the next review. They were always a band more comfortable in the present tense, following current fashions instead of setting new trends. But that doesn't mean they need to be completely dismissed, and this album in particular is well worth another listen.

I was impressed when I first listened to Desert Places. This German band deserves more attention from the progarchives members. I would say this album is more a prog folk than prog related or krautrock and I could note the influence of Ian Anderson in many songs, in flute melodies and mostly in vocal style. All the five tracks are very good and I can not write here one or two favorite songs! Maybe I OFTEN WONDERED is the easiest song and the first that came to my memory when I think about this album. Highly recommended for Prog-folk lovers I would rate it 4,5 stars!