LOCOMOTIV GT

This offering of Hungarian band Locomotiv GT is the soundtrack of the rock musical 'Képzelt riport egy amerikai pop fesztiválról' ('Fictitious Report on an American Pop Festival'). It is based on a shorter novel from 1971 by Tibor Déry, who had already some position in the first communist tyranny of Hungary which lasted fortunately only 133 days in 1919. So Déry was quite an old guard of the Bolsheviks, which explains many things about this particular album. The novel was adapted to stage by Sándor Pócs, the music was composed by Locomotive GT's keyboard player Gábor Presser, and the lyrics were written by Anna Adamis. The story is that an immigrant Hungarian guy is searching his also Hungarian wife at a festival in the USA, where the woman went without his husband's consent, and when he finally finds her wife she is already dying from heroin. Hardly a fantastic story, but what makes it really atrocius that this piece is absolutely an anti-rock propaganda piece., the "message" is very dominant throughout this so-called rock musical. We probably already know that all rock musicians and rock fans are awful drug addicts, but we really needed the genius of Déry to learn about the connection between an American rock festival and the the Arrowcross Party(Hungarian Nazis in the 1930's and 1940's)! Participating in such a work would be an eternal shame for a rock musician, but Locomotive GT did it. I 'm noticing that I have not written anything about the music yet, but there is really not much to write about it. This is basically outdated (in 1973) simplistic beat, and I quite awful policitcal beat, I would rather call this work by Locomotive GT a Chastushka Opera, or Rock against Rock if this music would qualifie as rock. Musically speaking nothing really happens on this album. Obviously it is not recommended to any fan of progressive rock, and not even to any fan of valuable music. I recommend this album only if your misssion is to collect the worst albums in the ProgArchives database.

The lyrics are more entertaining than the music - provided you understand Hungarian!

The band's first two albums were pretty good, somewhat bluesy Heavy-Prog. By this point though only PRESSER (keys, vocals) remained of the original line-up. The style has changed too. Indeed, there is no longer any clear direction, but Reggae, Pop, Rock, Funk, mournful ballads alternating for no particular reason. Talk about Eclectic! But Prog it isn't.

All members (with markedly different voices) sing, often taking turns within the same tune that can be somewhat amusing. Unfortunately, they are not prone to attempt vocal harmonies together.

They all are skilled musicians who briefly display their talent here and there, but never really release those skills to roam. KARACSONY (guitars, vocals) was previously an excellent performer. Here, he is relegated to the odd fill and his abilities are largely wasted.

Special mention is due to SOMLO (bass, sax, vocals) whose one-of-a-kind, powerful voice is truly amazing. To the point that it's almost worth "enduring" the album just for his lines. His scarce compositions are usually the highlights of any LGT album (here tracks 7 and 9).

The reality is that this band hasn't much to do with Prog and I could have penned these words about just about any of their works. Their relative popularity in Eastern Europe is easy to understand. Back then there were very few local records produced and practically no imports. These rather mediocre LPs were often the only material in circulation, sold at the back of book stores. Ergo, there was little choice and the public just got used to what was on offer.

P.s. I am absolutely intrigued by references to King Crimson, Gentle Giant. Growing up in Hungary, I am rather familiar with LGT, but such comparisons remain a mystery to me. Please, send me a PM and point out the odd track that sounds anything like that.

I won't mince my words here, this release represents the absolute pits in the band's entire career. A concept album, designed to mock American music culture - if only to curry favors with the authorities of the time. It was performed as a theatrical work with actors singing most parts.

The title translates as "Imaginary Report On An American Pop Festival" and designed to focus on negative aspects the audience may have encountered at events like Woodstock. Drugs, alienation, despair. A truly nasty and thoroughly one sided approach where music was largely disregarded. Not worthy of a respectable artist.

Sure enough, former co-leader FRENREISZ (Fender bass, saxes, vocals) refused to participate and left the band in disgust, forming his own reasonably successful rock band, SKORPIO.

From then on, LGT has become PRESSER's vehicle heading into a different direction. His longtime friend and former (early) OMEGA member Tamas SOMLO was given a few days worth of crash course to learn the bass (!) and LGT was "saved".

Somlo was previously a circus performer and in future concerts he could be observed playing while walking on stilts and entertainment often came at the expense of quality music. To his credit, he also plays quite credible tenor sax and his singing voice is exceptionally powerful and unique. Also, as a composer his rare tunes on future LGT releases shine amongst the rather mediocre material the band has collectively churned out over the years.

Shortly after the release of this album, both LAUX (drums) and BARTA (guitars) have emigrated to the US where ironically, the latter has soon met his maker over a drug deal gone wrong. Poetic justice? Probably, but also a sad waste of an exceptional talent.

Musically, this album represents zero interest in any style, let alone as Prog, with one notable exception. The featured remake of an earlier piece "Ringasd El Magad" stands out and probably one of the best tunes the band has ever produced. The driving, throbbing rhythm complemented by excellent drumming and sensational guitars is in stark contrast with the rest of the material. No, I couldn't bring myself to purchase this album, but managed to get a copy of that tune alone, courtesy of an overseas friend.

Rating? For content and music it almost hurts that I can't go below 1 star, but that outstanding tune I referred to is a 5 in my books. Strange world we are a livin' in...

The first album by a Hungarian supergroup that came to be following a poll in a youth magazine. The talent represented here are a "Who is Who" in the (then) Hungarian rock scene. So, the guys left their previous bands and embarked on a new direction.

All musicians here are skillful, the tunes however reveal that this band was lacking in common ideas. A bit like the same cart is pulled by horses in opposing directions The end result is quite reasonable Rock-Blues tunes that represented a promising, fresh approach on the Hungarian music scene. Unfortunately, this line-up was unlikely to last long enough to mature and a split has duly occurred after the second album. FRENREISZ returning home after having studied music in the US, likely to have brought the first Fender bass with him, the rich sound of which provided instant appeal to the band. Apart from lead vocals, he also played saxes, often two at the same time - not unlike Dick Heckstall-Smith of Colosseum.

PRESSER on the other hand played credible keyboards and added vocals reminiscent of a neutered sausage on a "bad hair day" .... Brrrrr! His compositions nevertheless are thoughtful and the lyrics represent dark and meaningful poetry - if only written by the drummer's wife, Anna ADAMIS.

When permitted to shine, BARTA on the other hand played his guitars with almost unprecedented fluidity that could be likened to Holdsworth's ability on the instrument - albeit not in the same style.

LAUX on his Ludwig glass drums often sounding like John Bonham with the associated heaviness faithfully contributed to whatever the others dished out in compositions. To this day he retains a legendary reputation as one of the finest drummers of the time.

The first two albums of LGT were rather innovative, largely due to the influence of FRENREISZ and the general musicianship, but the band were never more than promising hope for quality Rock - Blues music and fell apart too soon. Later releases with PRESSER as the only original member left to carry the LGT name represent a rather mediocre output in comparison and have little to do with Prog.

(References to King Crimson, Gentle Giant tend to intrigue me as none of the musicians were even slightly inclined in such directions.)

The first album of this Hungarian band. A hard rock but with some amazing guitar and organ parts. Lirycs are in Hungarian and I don't untherstand what the message but the arrangements wit guitar and organ are brilliant. We must see that in music of seventies decade, the outside of Iron Courtain can not be listen, and the influencies of west, made some superior bands in some East coutrys. This is a very good album made in 1971, with a very good sound when some of germany and other country's band's don't was. I think that most of people don't listen the music when lirycs are not in English. This is a good example of a good rock made in Hungary. This is a not boring album, not excentric and psichedelic just most music made in early seventies decade, but really a rock album. 4 stars for rock quality.

Locomotiv GT - In Warsaw (1975)

Somehow I was always interested in this band, I simply don't know why. I had high expectations for this band. But this isn't eclectic prog, this is plain pop/funk sung in Hungarian. Having that said, it quite nice pop/funk, but it just isn't progressive.

Locomotiv GT had a short progressive period during the Ringasd el magad period. After that they changed their sound to the funk presented on this live album. This live album has no material from their progressive period. Locmotiv presents itself as a professional band with skilled musicians on keys, guitars and drums. The vocals are quite good. The tracks sound a bit alike, but are all acceptable. Playing live shurely isn't a problem for this band. Among the last tracks of the album are two piano-oriented songs that are quite nice, but again nothing special.

Conclusion. This is only for fans of Locomotiv Gt and people who desperately want to have special funk music. Good live performance, talented band, but no progressive music is to be found here. Two stars.

Sprung from the loins of Omega, this is a band with a lot of musical chops. This is the first thing that pops out at you when your ears first wrap themselves around the groozes being laid down early in this album. Don't fear the language barrier either as the singing is quite accessible whether you understand it or not. Perhaps the album only straddles the prog rock borderline but it does feature plenty of impressive organ work from Presser Gábor, which makes it well worth looking into. The album is a little front heavy with the best songs revealed early but on a whole this is a pretty clever little piece of 70s rock. Basically, a nice rock/borderline prog album that is worth a listen but not something worth a lengthy search for. 3 stars.

Here Barta Tamas has been replaced by another good guitarist, Karácsony János. The sound is more funky than ever before although there are still traces of hard rock that will completely disappear by the next album. Also, there is a majestic return of the Hammond organ, though it is still outweighed by the rhodes.

The music is LGT at their best. Opening with the sound of cowbells (not the musical kind, cowbells that are worn by free-roaming cows in Hungarian plains!), and then getting into atmospheric rhodes harmonies, finally ending with a great riff embellished by a string section. "Szólj rám..." is a fantastic funk-jazz workout with rhodes, hammond, and clavinet perfectly complimenting each other with thrilling syncopation. The title track sees the band returning into hard riffing and soloing, even though it's dominated by soothing tremolo'd rhodes. Otherwise we have three good ballads, of which "Álomarcú lány" is the most memorable (and one of their most successful hits).

"Mindig magasabbra" remains one of the most consistent LGT albums, surpassing in that regard 72's "Ringasd el magad", even if that album is a bit more progressive in style.

With their third album "Bummm!", Presser & Co. largely left behind their brand of heavy progressive rock in favor of a funkier sound complete with soulful vocals. Hammond has been replaced by rhodes and the heavy riffs are almost completely absent, with a few exceptions. Apparently Presser felt limited by the heavy progressive framework and decided to play in a style similar to that of 70s Traffic, much to Freinreisz's disdain, who had already left the band after the previous album was done.

"Ringasd el magad" is the continuation of last album's closing track of the same name(!). In its 5 minute playtime it foreshadows the typical Locomotiv GT sound for years to come: percussion driven groove-based jazz-soul-rock. The next track "Kek asszony" is a fantastic ballad that would be worthy of Lennon/McCartney's pen. The rest of the album is also of good quality, though no individual songs stand out - it's all a good mixture of funk, blues and hard rock - so you won't find much prog rock on this record, just good honest funk-rock.

After their American tour of 1974, the guitarist Barta Tamas decided to stay in the states, and so the band's future was uncertain. But they pulled through, releasing a string of solid albums throughout mid-to-late 70s, albeit very distant from their heavy roots.

On their second album "Ringasd el magad", Presser and co. start adding prog influences to their hard rock formula. A casual listen will reveal influences from ELP, King Crimson and even Gentle Giant, yet the album retains compact song structures, and half of the tracks still are in the blues rock style of their self-titled debut.

We have a totally animated opening track "Cirkusz" driven by percussion work, and lightning fast guitar and organs trading licks. There is even a doomy repetitive section in the middle with falsetto vocals that resemble Magma! Another highlight is "A semmi kertje" which totally resembles early raw Gentle Giant what with the high vocals, rhodes piano, and vibraphone. It sound like Presser Gabor gave a listen to "Peel the Paint" when he wrote this. "Kakukkos karora" is also certainly interesting if for the wrong reasons - being a unserious bluegrass tune complete with banjo picking. The acoustic guitar solo shows though that Barta Tamas could have play note-for-note with Steve Howe in this chicken-picking style. Finally, "Kotta nelkül" sounds strongly inspired by ELP with its lengthy organ jam. The other tracks are quite plain, driven by simple blues-based riffs, but this does not make them subpar. As a whole, the album sounds very well balanced between their more progressive endeavors and their raw blues-rock sound!