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BABYLON

Babylon

Symphonic Prog


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Babylon Babylon album cover
3.95 | 101 ratings | 16 reviews | 34% 5 stars

Excellent addition to any
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Studio Album, released in 1978

Songs / Tracks Listing

1. The Mote In God's Eye (7:00)
2. Before The Fall (10:54)
3. Dreamfish (9:12)
4. Cathedral Of The Mary Ruin (7:38)

Total Time: 34:44

Lyrics

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Music tabs (tablatures)

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Line-up / Musicians

- Rick Leonard / bass, voice, bass pedals
- Doroccus / lead voice, synthesizers, electric piano, Orchestron, Omni
- Rodney Best / drums, percussives
- J. David Boyko / guitars, muted variations thereof
- G.W. Chambers / synthesizers, acoustic and electric piano, orchestron, Omni, voice

Releases information

LP Mehum Music 4641 (1978)
CD Syn-Phonic SYNCD 18 (1999) USA

Thanks to ProgLucky for the addition
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BABYLON Babylon ratings distribution


3.95
(101 ratings)
Essential: a masterpiece of progressive rock music(34%)
34%
Excellent addition to any prog rock music collection(42%)
42%
Good, but non-essential (15%)
15%
Collectors/fans only (9%)
9%
Poor. Only for completionists (0%)
0%

BABYLON Babylon reviews


Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by Steve Hegede
PROG REVIEWER
5 stars Fans of bands like CATHEDRAL, MIRTHRANDIR, and YEZDA URFA are in for a treat with BABYLON. Their main influence was clearly early GENESIS, but they seemed to have been much more interested in the more aggressive moments of songs like "The Musical Box", "Firth Of Fifth", and "Cinema Show" than with their slow build-ups. The four compositions, recorded around 1978, lose little time getting aggressive and complex. They feature intricate RUTHERFORD/COLLINS influenced bass/drum grooves, melodic synth lines, and distant weeping-guitar lines. The vocals might be a little too dramatic for some. I guess, I could compare the situation to the vocals on MIRTHRANDIR's album. At first, the vocalist seemed a bit amateurish, but after repeated plays his style quickly became likeable. Overall, this another great release of GENESIS-influenced prog.

Review by lor68
PROG REVIEWER
4 stars Well among many derivative bands in the vein of GENESIS and YES, in the course of late seventies, this one is the most interesting and personal too, along with MIRTHRANDIR (even though probably a 3 stars score for Babylon should be righter)... Actually "Babylon" is worth 4 stars at most, because there's not an immediate sense of melody, that is a refrain which can be sung by everyone (this is the difference between the majority of the derivative bands and the early GENESIS). Nevertheless its importance (a sort of "ante-litteram" new progressive wave genre, which will make the fortune of bands such as MARILLION some years later!!) and influence too, is very strong still today. Even though the syncopated singing and the sounds produced by the analogical keyboards as well, are not always convincing. It never minds, because this album- also as an historical document about the best 70's US derivative bands- is recommended anyway!!
Review by Proghead
PROG REVIEWER
5 stars The state of Florida isn't what you call a hotbed of prog rock. Usually when you think of that state's rock scene, you think of some of the southern rock bands that resided there, amongst them, LYNYRD SKYNYRD, .38 SPECIAL, BLACKFOOT, and MOLLY HATCHET. But coming out of St. Petersburgh came BABYLON. The band consisted of:

Rick Leonard: bass, voice, bass pedals / Doroccus: Lead voice, synthesizers, electric piano, Orchestron, Omni / Rodney Best: drums, percussives / J. David Boyko: guitars, muted variations thereof / G.W. Chambers: synthesizers, acoustic and electric piano, orchestron, Omni, voice

Of course the Omni refers to the ARP Omni, a combination string synth/polyphonic synth (that's basically an ARP String Ensemble with the very basic features of the Odyssey). The electric piano in this case is the RMI Electric Piano/Harpsichord, as what Tony BANKS used on "The Lamb Lies Down on Broadway" and Rick WAKEMAN used while with YES and on "The Six Wives of Henry the VIII".

Far from trying to sound like SKYNYRD, like many bands of the time in that region often did, they much preferred the sounds of early, GABRIEL-led GENESIS and of YES. BABYLON released their one and only album in 1978, locally on the U.S. Artists label (it also says "Mehum Music" on the label, as well, but only on side one of the LP). In 1989, a small, up and coming prog label out of California owned by Greg Walker called Syn-Phonic released two albums of live archival material, "Night over Never" and "Better Conditions" for the DEAD.

Anyway the music of BABYLON is very influenced by GENESIS, with some YES thrown in, so originality isn't on their side. Doroccus oddly sounds more like MARILLION's FISH than of Peter GABRIEL (although there's a section of "The Mote in God's Eye" where he sounds like SUPERTRAMP's Roger Hodgson), so the MARILLION comparison does often surface, although this is from 1978, five years before "Script of a Jester's Tear". And if you dread MARILLION, don't worry, as it sticks in the classic prog vein, with lots of great HACKETT-like guitars, great use of Moog and string synths, and lots of lengthy and complex passage for those diehard-in-the-wool progheads who straightforward three minute long songs won't do. That means if you fear a proto-neo-prog album, rest easy. Certainly the vocals need a little getting used to, because it's more dramatic than GABRIEL (or even FISH), and there is more that "modern" feel that isn't the most appealing to me. The album has only four lengthy cuts, so the proghead who want lengthy epics won't be disappointed. Another album this reminds me of is a little of CATHEDRAL's "Stained Glass Stories", except without the KING CRIMSON and proto-ÄNGLAGARD sound (and with more the emphasis on the GENESIS style).

And for all you UFO and alien abduction buffs who own the CD reissue wonder why the Grey alien on the cover looks exactly like the one featured on the cover of Whitley Strieber's Communion, when you know for a fact in the 1970s, the Greys were never portrayed as looking like that in the 1970s, well, here's what happened: When Syn-Phonic reissued this on CD, they wanted to update the artwork. So the alien now ended up looking like Strieber's alien, with the dark, black, slanted eyes, and the "Babylon" logo was now color, as opposed to black and white like on the old LP. The original LP (which I own) features the alien with more human looking eyes (not unlike the aliens that abducted Betty and Barney Hill in 1961). So the reissue portrays the Grey as in the 1980s and 1990s version of it, while the original portrays the Grey as the 1960s, 1970s, and probably early 1980s version of it.

Well, back on the subject of the music, basically if you don't mind the sound of a prog rock band obviously influenced by GENESIS (but not an outright clone), and you don't mind some of the "modern-ish" sounding vocals, then I can highly recommend this album.

Review by Progbear
PROG REVIEWER
2 stars Ridiculously overrated Genesis-wannabee band. The band are resonably good players and none of their compositions are explicitly plagiaristic of their sources (though originality is not their strong suit). The main problem is that they simply aren't strong enough composers to make their lack of originality a non-issue; there's little here to keep me interested in listening to the end, and the album's barely over a half-hour long!

The lead singer (who calls himself Doroccas. And people say prog-rock is pretentious!) has an obnoxiously arch and stilted vocal style. And the lyrics are appalling, perhaps not the worst I've ever heard by native English speakers, but close. Thin keyboard sounds worsen matters still.

Review by The Owl
PROG REVIEWER
4 stars Florida is not normally a locale that one normally associates with prog-rock of any form, but in the late 70's, a fivesome under the moniker of Babylon defied the stereotype. And thanks to Greg Walker and the crew at Syn-Phonic, this long-sought-after collectible is available once again, remastered and with a nice booklet including photos of the live shows.

At first listen, one would be tempted to write them off as a Genesis clone (yes they ARE influenced by Genesis, auras of Selling England-- and The Lamb-- are most obvious), but on further listening, some noticeable differences emerge as well.

For the most part, Doroccas sounds absolutely NOTHING like Gabriel at all, if anything, his voice oddly enough makes me think of Gary Numan with a bit more facility. At times alien and detached sounding ("Mote in God's Eye"), others far more down to earth ("Before The Fall"). The band's live shows took their cues from Genesis in the respect of using films, slides and props.

1) "Mote In God's Eye" - Starting with mysterious synth noises and eerie percussion, this tale of Nazi war criminals caught red-handed wastes no time unfolding from a somber march to fiercely complex instrumental passages somewhat reminiscent of Genesis yet leaning more towards fusion in their intensity, numerous time changes and harmonic structures (even more noticeable in the succeeding tracks).

2) "Before The Fall" - Starts off low key with a melodious vocal section at times reminding me a bit of the best parts of Selling England--, but before long, the track takes a turn for the darker and spookier as eerie guitar and synth melodies wind around each other over fierce backing by the band. Rodney Best really shines here with his crisp Bill Bruford-esque drumming changing tempos and meters in the blink of an eye.

3) "Dreamfish" - This is where Doraoccas has a field day, having to narrate this tale of fish-like creatures invading the human realm hell-bent of horrific revenge. One has to marvel at how Doroccas can keep up with the band's demented, twisted and difficult meter/time changes.

4) "Cathedral of The Mary Ruin" Here's where the band pulls out all the stops and goes VERY over the top throwing in everything they can possibly think of in terms of unexpected rhythmic twists and dynamic changes and ending with a haunting keyboard figure fading out.

Clocking in at around 35 minutes, this disc moves along at a brisk pace and will definitely appeal to fans of fiercely complex symphonic prog with lots of drama, Genesis influenced yet not a clone. Doroccas's voice may not be everyone's cup of tea but somehow it fits the music quite beautifully. For keyboard fans there's tons of cool synth sounds and ARP strings (NO mellotron or Hammond Organ though) although I have to admit, that RMI electronic piano is one very obnoxious sound. A tight rhythm section holds it together with Rodney Best's crisp Bruford-like complex drumming and Rick Leonard's solid authoritative bass.

What one might call a minor classic, grab it while you can.

Review by erik neuteboom
PROG REVIEWER
3 stars Many years ago I ordered Babylon their two live LP's (Live At The Empty Keg 1 and 2) at Greg Walker his known label Syn-Phonic (in fact his first two releases!). When I received these two albums I was delighted because Babylon is a 'cult band', their studio LP from 1978 is a highly sought after item. But what a disappointement, the recording qualities are so inferior that it's almost impossible to judge this fine USA band. Their concerts were legendary multi-media events featuring screen-projections, theatre and interaction with the public. The music has obvious hints from mid-Genesis: Tony Banks inspired keyboards, Hackett-like guitar and even the drums evoke Phil Collins, only the bass work is in the vein of Chris Squire. So Babylon is a Genesis clone? No, elements like the very distinctive vocals and many subtle, sometimes very wayward ideas make Babylon to a band to check out!
Review by Cesar Inca
SPECIAL COLLABORATOR Honorary Collaborator
4 stars Much better than just good yet not being absolutely excellent, the fact is that Babylon's only eponymous effort is one of the most amazing lost gems of America's symphonic prog scene back in the 70's. Recorded in late 1977 and released one year later, it is a pity that this album had to be unnoticed by the mainstream, but apparently the band had a loyal cult following, who probably were akin to the quintet's visual environemtns on stage. The band wear their main influences upon their sleeves: quartet-era Genesis (with the extra penchant for costumes that were archetypical of Gabriel-era), Yes, some Gentle Giant and also some Van der Graaf Generator (regarding the lead singer's impetuous vocalizations), bearing soem density in a large number of main melodies, but all in all, providing a light dynamic to the full instrumentation all the way through the shifts of melody, ambience and tempo. The dialogues between the guitar and synth are the most prominent features in the instrumentation, with the rhythm section setting a firm frame for them, while the keyboard orchestrations and adornments on string synth, piano and Birotron set a sheer orchestral mood that proves efficient for the most explicitly dramatic passages of the songs. The album kicks off with the anti-Nazi 'The Mote in God's Eye', a very effective number that fluidly combines the tow main motifs in 4/4 and 7/8, respectively, although the arrangements are not spectacular. It is from track 2 onwards that the band begins to show and develop its real symphonic potential: 'Before the Fall' is not as cohesive as its predecessor, but it sure protrays a slighly somber mood that provides an interesting musical landscape to the main musical ideas. The most accomplished tracks in the album have to be the last two, which continue with the epic structure of track 2 but bear a more cohesive feel. Although I hypothetically imagine that these songs should have profited from somewhat longer expansions, they are really good symphonic epics. 'Dreamfish' is a funny and ironic tale of Apocalypse in which the fish take their ultimate revenge on humankind, while 'Cathedral of the Mary Ruin' returns to the anti- Nazi subject. These tracks are also the ones that contain the most inventive lyrics (by lead singer-additional keyboardist Doroccus), as well as the most inspired melodies and contrasts. I only wish that the sections in which the lyrics are sung really fast had been arranged as multi-vocal sections, since I feel that Doroccus's need to overdo Gabriel's deliveries of 'Epping Forest' is not that well done: the parts in which he relatively emulates Jon Anderson's sense of spiritual grandeur are where he performes his best vocal deliveries. Boyko's merits on creating floating guitar lines and precise complementations to the synth solos deserve a special positive mention. All in all, it would be fair to say that Babylon procures carefully to work as an ensemble. I rate this album somewhere between 3 ¾ and 4 stars: "Babylon" is a lost USA prog classic that collectors should check out and appreciate.
Review by Mellotron Storm
PROG REVIEWER
4 stars BABYLON was formed in central Florida in 1976, they were influenced by the usual suspects like GENESIS, KING CRIMSON, GENTLE GIANT, VDGG, HAPPY THE MAN and many others. When they performed a concert it was like multimedia extravaganza, encompassing film, large screen multi-image projection, theatrics and audience participation. This was their only studio album released in 1978. It's very GENESIS-like instrumentally but the singer sounds nothing like Gabriel, in fact he sounds a lot like Phideaux. These guys play complex and challenging music. The original album cover had normal eyes looking at us while on the cd re-issue they've changed it to alien eyes. The cd re-issue was done by Greg Walker and his Syn-Phonic label in 1999. It was also re-mixed and remastered then by the late Kevin Gilbert who knew a thing or two about GENESIS. The sound quality is excellent by the way.

"The Mote In God's Eye" has vocals after a minute and they're almost spoken as we get synths and a beat in the background. It kicks in around 2 1/2 minutes and it's GENESIS-like a minute later where we get an instrumental section. Some wild synths before 5 minutes and the vocals return a minute later. "Before The Fall" is kind of dreamy and laid back with synths, bass, light drums and reserved vocals. The vocals come and go. It's GENESIS-like around 5 minutes then we get a change as the song becomes more dynamic. I like the drumming during the final minute.

"Dreamfish" has lots of synths, drums and bass to open then we quickly get a calm as the tempo continues to change at will until these fast paced vocals arrive 2 minutes in. The bass is great here as well as the drumming. Again GENESIS comes to mind as the song plays out. Sounds pulse before 6 minutes then the vocals return and they again are fast paced. Themes are repeated. "Cathedral Of The Mary Ruin" is GENESIS-like early with keyboards and vocals. The drums become prominant. I like the vocals and sound after 2 minutes. The vocals turn theatrical and the sound gets heavier 3 minutes in. It's mellow again before 4 1/2 minutes with vocals. Nice. Again themes are repeated.

A solid 4 stars for this lost American classic.

Review by Tarcisio Moura
PROG REVIEWER
3 stars What? A symphonic prog band from Florida? In 1978? PA never ceases to surprise me! I had never heard of this band and I was quite curious about it when I saw some of the reviews. It seems that their forte was playing live with lots of multi media stuff and theatrics. Since I was unable to get a hold of one of their live CDs I had to rely entirely on Babylon´s solo studio offering. And it is not bad! Ok, it is far from original, but they did write some very fine tunes in the mid period Genesis mold. Put some Yes (specially the bass parts) and Vand Der Graaf Generator influences in the mix and voilá: you have Babylon.

Hearing this CD I get the feeling that this group was very promising. If the sound is maybe too Genesis-copy, the vocals are not. And even the instrumental parts show that they coud get pretty far giving time and opportunity. But, alas, this was not to be. In many aspects they remid me of Marillion, a group that started doing something similar. Like Babylon Marillion sounded a lot like early Genesis (even in the vocal department) in the beginning but soon found their sound and became one fo the greatest prog acts of the world. I can only wonder if this talented bunch could go that far. For they could, unlike most other Genesis clones, write real melodic and outstanding songs.

There is only four tracks in this very short album (a little over 34 minutes of playing time). But they are very fine ones. Production is quite good for the time too. The ten minute epic Before th eFall is the highlight of this CD to me, excellent tune with beautiful Hackett -like guitar lines.

Conclusion: a very good surprise. If you´re into 70´s symphonic classic stuff, this is surely one you should listen to, as long as you don´t mind the fact that their influences were still quite evident in their music. Since I´m a huge fan of Genesis, I´m delighted with what I heard. I can´t really say it is essential in any way but still very good. So my rating is somewhere 3 and 3,5 stars.

Review by BrufordFreak
COLLABORATOR Jazz-Rock / Fusion / Canterbury Team
5 stars This has been a wonderful find thanks to ProgArchives. Though definitely a band that gets its inspiration and chops from VAN DER GRAAF GENERATOR and GENESIS, they did an amazing job of making songs for this album that are fresh, interesting, and memorable--even hauntingly so.

1. "The Mote God's Eye" (sounds like VDGG with Peter HAMMILL's theatric voice but with a GENESIS "Cinema Show" like structure and instrumental sound--especially in the instrumental sections. Lead singer "Dorrocus" is an extraordinary force of theatrics--carved much in the same mold as perahps the greatest prog epic storyteller of all, Peter GABRIEL. His voice and styling is almost an exact copy of Matthew PARMENTER. Awesome song, though it cuts out as if it was originally much longer. (10/10)

2. "Before the Fall" (10:56) puts DOROCCUS and the band in total Gabriel-era GENESIS land. The arpeggiated guitar chords in foundation, the drum sound and style, the keyboard leads are so GENESIS 1973! Even the volume pedal controlled guitar leads are pure Steve HACKETT. And the more delicate vocal approach is so different from the previous song--illustrative of what a talent this man was! The song's shift at 4:30 is also right out of the GENESIS playbook--even if the fast-flanged guitar is less Hackett. Again, at 5:45 there is another shift that is so GENESIS! And yet this remains fresh and so enjoyable! Much better than listening to any of FISH-era MARILLION's stuff. If there is a flaw with this song--and the album as a whole--it is the quiet, almost muddy mix of the sound. (9/10)

3. "Dreamfish" (9:15) is another song emulating Peter GABRIEL-era GENESIS--though some of it feels as if it could be later--Wind and Wuthering or even And Then There Were Three. DOROCCUS' vocal performance is closer to Peter HAMMILL or even RUSH's Geddy LEE this time round. If this were a GENESIS song it would have been one of the songs cut from public viewing as it just doesn't muster enough cohesiveness or flow--it feels unfinished or rushed. This despite the fact that the lyrics and story are interesting. (8/10)

4. "Cathedral of the Mary Ruin" (7:40) is actually my favorite song on the album because of its originality. Though a Matthew PARMENTER-like voice and vocal performance comes from Dorrocus, the song's fast, staccato piano-based nature and the way the tempo is imitated/matched by Dorrocus' vocal are mesmerizing. The band sounds so tight, so virtuosic on this one. And so original. It ends a little weakly, but, man those first three minutes are incredible! (10/10)

Though this is a rather short album, it packs quite a punch. Also, the complexity of its compositions and high quality of its musicianship, as well as the amazing theatric talent of lead singer Dorroccus make this album to my mind a pure masterpiece. It's too bad that we heard no more from this talented band after this lone release. Definitely one of those gems hidden in obscurity.

Review by VanVanVan
PROG REVIEWER
4 stars Along with Starcastle, Babylon often get brought up as "a band that sounds like Yes." While this is certainly true, it's also a bit unfair-while Babylon has a lot of obvious Yes influences, they also have a great sound in and of themselves. Their single album, while certainly flawed, is also an awesome time-capsule of late 70s prog: certainly influenced by those that came before but also pushing ahead. If you're a fan of Yes and want to hear some relative contemporaries who were influenced by them then this is a great album for you. If, however, you're sick of bands who sound too much like classic-era Yes, you may wish to look elsewhere.

"The Mote In God's Eye" gets the album off to a bit of a slow start, with extremely minimalistic keyboards and a bit of percussion serving as the entirety of the music behind some slightly monotone vocals. This opening section of the song is extremely sparse, but it still kind of works, though it does go on a bit long. When the song really picks up, however, is about 3 minutes in, as the instrumentation fills out, the tempo picks up, and the music begins to sound almost scarily similar to Yes. Again, this isn't a bad thing; I personally have no problems with bands that sound like other bands. However, the similarity is quite astounding, with most of the instrumental music on the back half of the track sounding to me like it could have come straight off of Tales for Topographic Oceans. "The Mote In God's Eye" isn't a bad song at all, but I will admit that it's probably my least favorite of the 4 tracks that make up this album.

Unlike "The Mote In God's Eye," "Before the Fall" starts off amazingly. Immediately launching into a mysterious, psychedelic keyboard melody, the vocals are great here as well, with a lot of very good use of harmony. The extreme Yes influence of the previous track is mostly gone here as well; though there are some similarities in the synth parts it certainly doesn't come off as clone-like. Like "The Mote In God's Eye," this track is heavily keyboard-led, with several great solos appearing in the instrumental middle section of this track and towards the end as well. Especially notable is an awesome major-key reprise of the first motif that really pulls the whole song together. "Before the Fall" is a great track and if the whole album was this good it would likely be a 5-star disk.

"Dreamfish" more or less ventures back into Yes territory, with the vocals especially sounding more like Yes on this track then they have on either of the previous two. "Dreamfish" on the whole is more uptempo and overall more frenetic than the minimal "The Mote?" and the somewhat slower "Before the Fall," with the vocals practically delivered at auctioneer speed and the music equally as energetic. Even when the motif changes midway through the track it doesn't lose any steam-I'm amazed the vocalist can even breathe with how fast he's spitting out lyrics. There's a decent amount of ELP influence here as well, especially in a lot of the instrumentation, and the sheer ability of the musicians here makes me wonder what could have come of this band had they released more than one album.

"Cathedral of the Mary Ruin" finishes off this self-titled album. Beginning with a very rhythmically complex series of keyboard parts, the track calms down a bit for a dreamier vocal section which is followed by some absolutely gorgeous piano playing. The track picks up again with about 2 minutes left in the song to launch into a bombastic, ELP-esque series of solos that eventually give way to the vocals again. Unfortunately, I don't think "Cathedral of the Mary Ruin" finishes rather weakly, just kind of fading out without any real sense of resolution. I don't have a problem with the fade-out ending, but this one doesn't resolve very well and it's a little underwhelming, especially for the last track.

Personally, I find this album very enjoyable. There's enough Yes sound to be an interesting listen from an historical perspective, not to mention that for the most part the music is pretty darn good in its own right. Definitely not the most original release but still a great listen and a bit of a lost gem from the late 70s.

4/5

Review by apps79
SPECIAL COLLABORATOR Honorary Collaborator
3 stars Babylon hailed from Central Florida and were found by a bunch of musicians, influenced by the likes of Genesis and Happy The Man, these were lead singer Doroccus, guitarist David Boyko, drummer Rodney Best, keyboardist Gary Chambers and bassist Rick Leonard.All came from local area groups and upon their formation they played live with strong theatrical colors and multi-image projectors.They recorded their only album in the fall of 1977 at Studios 70.This was released the next year on the unknown Mehum label, propably connected with the group's members.

Babylon played a theatrical Progressive Rock exactly on the thin line between the fading Classic Symphonic Rock of the 70's and the upcoming British movement of Neo Prog.They do sound extremely close to compatriots NORTH STAR and British veterans IQ first steps, where the huge analog sound has been replaced by the constant use of synthesizers.However, stylistically the album is strongly rooted in the old GENESIS approach, featuring four long, symphonic tracks with expressive vocals and notable keyboard textures with some smooth guitar playing around.Moreover the music alternates between pompous, instrumental moves and more laid-back, almost romantic soundscapes with melodic synthesizer lines and mellow electric guitars.Some complex themes are still in the menu with extreme, dual keyboard acrobatics and impressive Classical-influenced interludes.Doroccus' sounds a lot like another PETER GABRIEL-wannabe, yet his voice is very charming and pleasant to the ear.While GENESIS seem Babylon's most apparent influence, there are also these dual keyboard experiments, that flirt with the sound of HAPPY THE MAN, which is the only US band I recall when listening to Babylon.

Very good Symphonic Rock, certainly against the trend of the time.Not original, not groundbreaking, but very enjoyable, passionate and well-executed.Strongly recommended...3.5 stars.

Review by siLLy puPPy
COLLABORATOR PSIKE Team
4 stars One of the few examples of progressive rock emerging out of the Tampa Bay area of Florida which would become more famous for the explosion of death metal bands in the following decade. BABYLON formed in 1976 and played together only three years and released this eponymous album in 1978 and like many prog bands of the late 70s saw diminishing returns in this type of music being drowned out by angry punkers and disco balls in roller skating rinks and called it a day. They left behind this one album that sounds something like a lost Genesis album from the days between "Nursery Crime" and "Foxtrot." Doroccas does his best Gabriel impression and the rest of the band pay tribute to the most aggressive aspects of early Genesis while maintaining the pastoral "Trespass" type sound as well.

Although the liner notes claim Van Der Graaf Generator, Gentle Giant, King Crimson and others as sources for inspiration and to be fair there are other influences to a lesser degree, it is really something of an early neo-prog album to my ears being almost exclusively dedicated to Genesis worship, but what a pleasant stroll down the musical memories of yesteryear this one is. All four tracks are lengthy clocking in at over 7 minutes and the delivery is some of the most seriously delicious prog frenzies as textured keyboards layer moods and time signatures bombastically feed the serious demoralized prog lover of the days when their favorite bands were incrementally fleeing financial hegira and commingling with the pop world.

It is so true that this is hardly the most original music in the world but it is just beautifully played from beginning to end and if you count this as proto-neo-prog, albeit fairly complex then it fits right in with what Pallas, Twelfth Night, IQ and Marillion would pick up a few years down the road. Personally i find Genesis very hit and miss and actually prefer the bands they inspired in many cases over their very own output and this beautiful BABYLON album scratches the itch for theatrical pompousness that Genesis was famous for but smooth it over with slightly more suave vocals and more complex and virtuosic musical accompaniment.

This is the album Genesis might have made if they had stuck to their earlier formula but as we all know they were always eager to invent a new sound and then move on to other musical arenas leaving ideas and musical worlds that needed further development. BABYLON took full advantage of this era of musical ideas and ran away with them and like many prog bands of the day who saw no future in it condenses an entire musical career into one album. A very satisfying album that i really love to spin lately although it's not quite inventive enough to earn more than four stars. My copy has the newer album cover which replaced the grey human with a grey alien and its blackened oval eyes.

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