POLLEN

"Jacques Tom Rivest" is the eponymous debut and only album of the Canadian progressive musician of the 70's and was released in 1979. The line up on the album is Jacques Tom Rivest (vocals, piano and guitars), Richard Lemoyne (guitars and piano), Claude Lemay (keyboards), Daniel Mathieu (bass) and Serge Courchesne (drums and percussion).

Jacques Tom Rivest had the distinction of being one of the founding members of one of the Quebec's most critically acclaimed progressive rock bands from the 70's, Pollen, unfortunately almost a forgotten group. Pollen was formed in 1972 by Jacques Tom Rivest and Richard Lemoyne and in the following year they were joined by Serge Courchesne, who suggested they could recruit two keyboardists, Claude "Mego" Lemay and Serge Locat to complete the group. However, it was too late for Locat as he had committed to join Harmonium, another Québecois group, one of the best French Canadian groups indeed. So, the group pursued its destiny with only four musicians, all of them with big skills.

Despite their almost anonymity, Pollen was one of Québec's biggest progressive acts in the mid 70's, with Harmonium and Maneige. Their music is more purely rooted in the symphonic genre than their countrymen, whose music is more folk-oriented, Harmonium and more fusion, Maneige. The influence of major progressive acts are evident, like Gentle Giant, Yes, Emerson, Lake & Palmer, but the main influences are from Genesis. We can also see influences from French progressive groups like Ange and of many Italian groups of the time, especially early Premiata Forneria Marconi.

While Pollen would only issue one album, their self titled debut album, the group carved out quite a loyal local following in a relatively short period of time. Pollen had the honour of touring the province with some of the best British progressive groups like Gentle Giant two years before releasing their debut and co-headlining with Caravan, once that album was out. But the group split-up towards the end of 1976. They were times of changing in the music industry. So, it would be passed three years, before Rivest would be heard from again when he released his self titled debut album.

In reality and for some reasons, Pollen never was able to release a second studio album. But, in 1979, the story continued with the release of this solo album of Rivest, especially due to some of the songs had already been written for what would be the second Pollen's album. This album reunited Rivest with his ex-Pollen band mates, even the original drummer, Courchesne, who quit the group on the eve of the Gentle Giant tour back in 1974. So, many tracks on this album are somehow reminiscent of the group, even if they have been re-arranged by Tom Rivest, for his own use.

While the music on this album has flashes of instrumental fireworks, don't expect it to sound exactly like "Pollen". The sound leans more towards folk but plenty of progressive influences remain on it. Despite its closer to the folkier side of Pollen, without forgetting about the more orchestral/symphonic side of the band, the focus here is on acoustic guitars, flute and keyboards instead of a more pronounced electric environment. Some of the material here is more mainstream. But the acoustic instrumentation, as well as the double keyboard lines and singing, reminiscent of Pollen, can be found on many of the tracks of the album. The songs are also generally more commercial as well. Rivest's soothing and tender voice guides the listener through this fine collection of material. I'd have to say that the highlight for me is the Eastern flavoured "Voyage Au Tibet" with its full and rich sound, clocking in at over 7 minutes. However there are plenty of other grand orchestral moments on this album. Tracks like "La Language De Son Pays", "Toujours Plus Haut" and "La Nuit" are also great tracks that sound very close to Pollen's original release. Over all, this is yet another solid re-issue from the progressive Québec people and one worthy of adding to your collection if you are wondering why the 70's was a magical time for this kind of music in Québec. In addition, the album is now augmented by a bonus track, the last track, "Prendre Son Temps", taken from a single released about the same time as the original album release.

Conclusion: Still the self titled debut album of Rivest be not properly the second album of Pollen, it has the main ingredients of an album of the group. Rivest was the leader of the group and this first solo album finds most of Pollen helping out, only with a different bassist and the original drummer of Pollen, incidentally. The tracks are less obviously progressive, and at times are more folky or more rock. However Lemay is still in fine form on keyboards and his playing highlights four or five different tracks. Rivest was a talented composer and despite a mellow sound and short length of the tracks the arrangements are full of beautiful melodies and serene atmospheres. Many of the elements of "Pollen", wonderful melody, thick textures and interesting harmonies, are present on it. However, if you are hoping for something exactly like "Pollen", this isn't it. But, in essence, this is the second Pollen's album. Essentially, it merely reflects the time it was released, 1979, as the band tries to remain current while still having some fine progressive moments on it.

Prog is my Ferrari. Jem Godfrey (Frost*)

"Pollen" is the eponymous debut album of the Canadian progressive rock group Pollen and was released in 1976. In 1972, Tom Rivest and Lemoyne decided to form a progressive rock group. The band's name came by chance when, in the kitchen of the house where they lived together, the musicians spotted a jar of flower pollen. In 1973, Pollen gave their first live performance at Cégep, Maisonneuve. The group's concerts featured sophisticated light shows, visual elements and scenic effects of rare beauty. In 1974, Pollen made the tour of Québec with Gentle Giant. During 1975, Pollen continued performing to sell out shows at several venues like Cinéma Outremont, L'Évêché and Café Campus.

In 1976, Pollen released their self titled debut album, containing some of the best and most impressive progressive rock music in North America. One can say that Pollen was one of Québec's biggest progressive acts in the mid 70's, with Harmonium and Maneige. But their music is more purely rooted in the symphonic genre than their countrymen, whose music is more folk-oriented, Harmonium, or more fusion, Maneige. The band married tight musicianship and dazzling special effects and could be perceived as Québec's most symphonic contribution to the world of progressive rock. The album was launched during a show at the Grand Théatre de Québec where Pollen shared the headline act with Caravan.

Pollen split-up in 1976. So, "Pollen" is the only living testament under the Pollen's name, and represents one of the brightest jewels in the Québecois progressive crown. When I'm saying that "Pollen" is the only album of the band is really true. However, Tom Rivest released in 1979 his solo eponymous debut and only album with his band mates Lemoyne and Lemay. For some reason, Pollen never managed to release a second album, but the story somehow continued with the release of that solo album because some songs were already written for the second band's album.

The line up on the album is Jacques Tom Rivest (lead vocals, bass, acoustic guitar and keyboards), Richard Lemoyne (electric and acoustic guitar, keyboards and bass), Claude Lemay (backing vocals, keyboards, flute, vibraphone and bass) and Sylvain Coutu (drums, vibraphone and percussion).

"Pollen" has six tracks. The first track "Vieux Corps De Vie D'Ange" immediately sets the tone for the album and represents an excellent example of the unique musical style of Pollen. The track offers up a very dramatic mixture of pomp and symphonic filled with gorgeous keyboard excursions and extremely dramatic vocals from Rivest. This is really a great opener for the album. The second track "L'Étoile" follows and veers the album into a mellower direction. It opens with flute before the acoustic guitar and of the arriving of vocals. A mellow and pleasant sound is the result. This is a very interesting piece which demonstrates the band's ability to write more radio-friendly numbers. The third track "L'Indien" is another ballad that features acoustic guitar and nice vocals. Rivest does manages to put his own stamp on this one and his melancholic crooning and acoustic guitar is achingly poignant throughout the number. This is another excellent track that maintains the high quality level of the album. The fourth track "Tout L'Temps" is a quirky up-tempo number built on a jazz-like drum beat and swirling keyboards. The band once again shows a penchant for being able to write pop pieces with symphonic flair. The song ends on a particularly high note with some very tasty keyboards. The fifth track "Vivre La Mort" is one of the highlights of the album. The musical framework of the piece is built upon some powerful drumming and theatrical keyboard chords as the track builds to a crescendo. Halfway, through the number, we get a taste of Pollen's truly symphonic nature. Guitars and keys coalesce as the song builds up a head of steam before pushing the listener over the top in a fine display of tight musicianship. The sixth track "La Femme Ailée" is the epic of the album. It begins with some gentle guitar passages and delicate vocals. Slowly, the track builds in intensity until explodes in grandiose fashion. The closing 6 minutes represents its finest moment. Complex tempo changes and superlative instrumental prowess are the order of the day. Somber church organ cedes to powerful drum fills and moog madness and some excellent lead guitar before returning to the track's main theme. It closes the album in a grand style.

Conclusion: Hopefully, I've been able to express that Pollen, especially with the final long track, is one of the best symphonic progressive rock acts of the 70's, out of Europe. It can be reported with no failures and for friends of the 70's, a full recommendation can be given. Thus they offered in the French speaking Canadian province of Quebec one of the best progressive rock albums and one of the best introductions to Québec's prosperous progressive rock scene of the mid late of the 70's. This is the kind of albums that deserve to be rescued from the shades of the 70's recording industry and taken into every good progressive music collection. For lovers of the classic progressive rock of the 70's, this album should definitely be for them, especially for those who like the French strain of the genre. So, enjoy it, really.

Prog is my Ferrari. Jem Godfrey (Frost*)

Formed by musicians who would later on, separately, become important figures (often behind-the-scenes) in the Quebec music scene, this one-off album from then-young group Pollen contains some excellent music. However, the best tunes come at the end of the vinyl sides, while the tracks opening each side are the weakest, which means it takes a bit longer to discover the gems here. I agree with other reviewers that many parts of this album have a derivative feel, and that the writing is not yet mature, which was (and still is) fairly normal for a debut album. There are sections that bring to mind Genesis, and Gentle Giant, whose 1974 tour they opened for (they also shared the bill with Caravan in Quebec). The least musical track here, in my opinion, is actually the opening song "Vieux Corps de Vie D'Ange", so the casual listener might not be motivated to listen to the album too often. But this band does have its own sound, particularly on the tunes that close each side (of the original vinyl album). Of course, these for me are the highlights, and I would even say they should make it into the list of classic Quebec pieces. These harken more to other Quebec music of the time than to the British groups. The tune that closes side 1, "L'Indien", is really a folk tune, not even rock, but it is to me the best song on the album. Really a beautiful song, and original - very much their own voice. While I agree that the singing in general across the album is not quite on par with the best, it is still solid, and on this song it works very well. Meanwhile, the track that closes the album, "La Femme Ailee", is a 10- minute mini-epic with some great dark organ playing, original writing, and really excellent drumming. There are also sections of "L'etoile" and "Tout'l temps" that are great, with really nice arpeggiated guitar/keys parts and some difficult drumming (the drummer, Sylvian Coutu, was in the original lineup of Quebec fusion group Uzeb). So, while overall the album is not likely to blow anyone away, it does contain some excellent musical tracks, and is thus worth picking up. I give this album 7.5 out of 10 on my 10-point scale, which translates to high-ish 3 PA stars.

The music is symphonic prog and in my opinion sounds closest to some of classic Genesis' busiest and heavier moments, though there are quieter moments of flute, piano, classical guitar and organ. There are also some spacey effects that turn up in the first two tracks. Songs like "Vieux corps de vie d'ange" and "La femme ailée" give the band room to stretch out and explore their musical potential in both heavy and light areas. But diversity runs throughout the album with Genesis influences cropping up here and there.

But while the music makes itself easily worthy of four or five stars with some top notch symphonic prog, it's the vocals that I'm afraid pull the album down a little. Jacques Tom Rivest puts a lot of power into his singing and at best manages to almost do a French Peter Gabriel ("L'étoile") or pack some sweet emotion in at the right moment ("L'indien"). Unfortunately there are a good number of times where his vocals sound forced but lacking something. Perhaps he could have left out some of the oohs, aahhh, and other vocalizations meant to emphasis feeling.

Nevertheless, his singing is not so off that it's excruciating to hear. It's just that of all the Rock progressif québécois bands I've heard so far (seven and counting), Monsieur Rivest's vocals are a notch or two below the others.

Aside from that, most of the music here is quite a ride. My personal favourite is "Vivre la mort" which I guess would be "Long Live Death" in English. The beginning is a bit unassuming with its organ and Rivest's impassioned vocals. But once he lets rip with a rather gripping scream, the music takes a turn and becomes what is for me some spine chillingly excellent prog rock. There's one part where the synthesizer sears in with such subtlety it's like a laser cutting into the base of my skull. Exciting stuff!

Highly recommended for most of the music. Hopefully you can deal with the vocals well enough.

Pollen - self titled

4.5/5 actually

A canadian band singing in french sounding like rock progressivo italiano? Yes. What a fabulous symphonic album. Beautiful album art indeed. Pollen music offers symphonic electricity and light technical rock, adding acoustic folk and pastoral tendencies. The final solution is an almost full star album. They're playing real rock but seems they're gettin soft with their instrument. It's a great album to listen when you're not in the mood for something heavy but still want some high grade prog rock. The vocals reminds me of Eloy, but french lyrics. The first track (Vieux corps de vie d´ange) and the last (La femme ailée) are the lenghty tracks, and seems the band effort grows higher there, and they have the most memorable moments of the work. Well, it is not an innovative album, but pleasent, very very well done featuring plenty of sapid tips. Reccomended for fans of the R.P.I. genre. It shares similarities with artists such as Museo Rosenbach.

I dug out my Pollen cd the other day that I have had for years. For some reason, I never gave it the chance it deserved. It sounded great. Especially the accoustical ballads by Jacques Tom Rivest.

Then I came here and saw that he had a solo album. Much to my delight, I went to my favorite online purchasing web site and noticed they had an mp3 version of this 1979 album available for under $10.

So I bought it. 1 listen and I knew this was a good album. There's a few throw away tracks but for the most part, the album is really good. Not one amazing track but most all good/very good.

The album has some serious melancholic overtones along with some wonderful melodies to boot. I don't speak French but I don't believe this to be a cheerful album. Nice accoustical passages and trimmed down keyboards. Good/strong melodies.

I agree with the other reviewers of this with the comparisons to Capuano, etc...

I'd like to add another comparison to the album Antico Teatro Da Camera (1975) by Gianni D'Errico. You can find a review of that on progarchives. That one (like this one) is a total lost gem of accoustical melancholic ballads with prog elements. That one is essential just like this (sadly Gianni was killed before the release of that album which makes it even more intense to listen to).

Anyhow this album was a pleasant surprise and a big thumbs up. Its amazing (with all this great music that is undiscovered) that Justin Bieber/Lady Gaga/Miley Cyrus will get millions of sales from their albums but an album like this will go unnoticed/unheard. It's a shame.

Buy this without hesitation if you like Pollen and/or melancholic accoustical based ballads with prog elements. Don't take my word, you can go and find sound samples on this at your favorite merchant. That's what I did :-) I listend to a few of the 30 second sound samples and said "Ok, I'm buying it!!". Nice purchase.

It's been a long time coming, me breaking this album and taking time to grasp it properly. I acquired it a long time ago and have grasped it, bit by bit, over the years. At first I found it a bit too awkward, askew and frankly too metallic in flavor. I missed the warmth. Now, however, I do know what I think of the album and thus I feel ready to deliver my judgement. The debut album by Pollen is something extraordinaire. That is a genuine belief of mine, although I obviously "only" award it three stars. I will tell you why I think like I do.

The instrumentation and delivery of it all is outstanding. The boys in the band possess a tone and identiity that is theirs, yet they do show off quite an ability to master other styles of prog connected to certain bands, in not so small a part Genesis, I would think. There is complexity enough to keep any prog fan happy but there's also quite alot of accessibility. The blend of those two spectrums make the album very enjoyable indeed. I think Pollen is unique enough to stand out, yet, like I wrote, their inspiration or inspirations are quite clear.

The album kicks off with "Vieux corps de vie d´ange". The thing is that this particular track holds a riff (or introductional theme) that is gloriously askew and if not dissonant, then at least severely demented. It is scary, agressive and threatening. When the vocals kick in, which they do almost from the start, it only adds to the general feeling of discomfort. It may sound as if I'm not that keen on this track but I am. It is a great, thumping piece of music. Dark, threatening and powerful. Lovely start of a record and prog in the best of ways. After "Vieux corps de vie d ´ange" three tracks follow that, though by no means bad, still do not carry the inspiration and fire of the first song. Enjoyable but that is it.

And then they come, the last two of the bunch: "Vivre la mort" and "La femme ailée". What we have here, beloved proggers, are two amazing tracks. "Vivre la mort" starts with a great organ riff and vocals. I am getting reminded of Genesis "Trespass" album here and that is not bad, since Pollen are elaborate enough to envelop and develop that sound to something of their own. I have no words, really. Simply fabolous.

The last track, "La femme ailée", is the true epic of the album with really lovely keyboard passages and great vocals. The keyboards remind me of Rick Wakeman and the sound is close to Yes at times. Complex, melodic and shifting.

Conclusion: Out of the six tracks on the album three are amazing and the rest is okay. Perfectly executed but not really all that memorable. The last two tracks are the true winners, full of prog ability and wonder. I love those two tracks to bits and have not been able to crawl my way out of it's grip for days. The album is, however, not flawless. After hearing it I seldom feel I want to hear it all over again. I pick out, mostly, the last two and maybe I'll head for the opening track, once I've enjoyed those. Maybe the album isn't varied enough? Well, it is. It just doesn't hit it off completely with me. Still, I would really recommend anyone to get acquainted with the album. It is a good album, even brilliant at times. 50% of the times, actually. That is why award the album, three stars. Brilliant at times, just not solid enough.

Again, being from Quebec, I snobbed the song of my own land, and I repent. Sincerely, the Quebec scene of the 70's is simply astonishing, revealing gems one after another. Pollen is not an exception, and I would say they should be on top of the list for beginners. They sound very Tony Banks' work in Genesis, and since he's my favorite keys player ever, I cannot but clap my hands in synch with the music. They also manage to blend a wee bit of Gentle Giant and ELP, but the main melody maker is the fabulous keyboard playing of Rivest! He's prodigious!

Speaking french myself I cannot pass through the lyrics without commenting: have they been disappointed by religion? They have a strong chip on the shoulder of the Catholic Church, with provoking lyrics (for the time) saying that Priests fooled them and the people have to pay the bill now. Considering the mentality of Quebec, this must have been a kick in the arse for the concerned and an appeal to youngsters who didn't want to follow their parents' religion. Wow indeed.

For a dynamic dose of keys and some of the best Genesis riffs (they never wrote), grab this cookie when you see it. No baloney.

The opener, "Vieux Corps de vie d´Ange" (8/10) has quite a wonderful climax section?incredibly powerful singing.

"L'étoile" (9/10) has a very Genesis feel to it from the very start with its picked 12-strings and Hackett-like volume pedaled electric guitar notes. As the air turns more festive a Rhodes piano takes a turn at some simple solo. Then, at 2:25, for a brief time, full scale unleash of the Selling England by the Pound/Dark Side of the Moon effect. Beautiful song.

"L'indien" (7/10) is a more laid-back almost droning song from the HARMONIUM school of acoustic-based prog. Pretty; no complaints; probably would be more meaningful and impactful were I to try to listen to lyrics.

"Tout le temps" (8/10) has a little GENTLE GIANT feel and sound to it?though not so complex or sophisticated, just similar sounds. Love the dueling keyboards in the middle?harpsichord and organ! A little 'Harold the Barrel" feel there! Add horn-delay keyboard and you've got a little prog magic going on there!

"Vivre la mort" (8/10) starts out a little too much like a French "Get 'em Out by Friday" (a Genesis song that I've never really liked). Luckily, the song is saved by a simply marvelous second half instrumental section in which all players are adding to a rather YES-like electronic mayhem.

"La femme ailée" (10/10) begins very delicately with some classical guitar accompanying the breathy Kenny Loggins-like vocalist. Vocal harmonies and organ are added to great effect while the acoustic guitar continues to steal the show. Beautiful! Brilliant, delicate, multi-layered, complex "Cinema Show"-like song!

This album has grown on my greatly since I first heard it?to the point that I hold it right up there alongside?or above?Nursery Cryme and Voyage of the Acolyte?the two albums it most reminds me of. This is a masterpiece of prog!