L'ARAIGNÉE-MAL

A jewel of French symphonic progressive. Luc Serra out, Christian Beya in, and the band were augmented by violinist Richard Aubert and second keyboardist Bruno Gehin (Gehin wasn't a band member anymore by the time they got around to recording their second album, but recorded with them anyway, presumably because he had played on the tunes live). It's Gehin who gives the album its real symphonic depth, adding Hammond, Moog and Mellotron to Michel Taillet's rather paltry rig (largely Hohner Clavinet and Eminent Solina).

Aubert's violin, oddly, adds an element of fusion to proceedings. The instrumental "Cazotte No. 1" is essentially a fusion piece, and one can hear touches of it on the lengthy, four-part title suite that covers the B-side of the original vinyl. Ditto "Le Photographe Exorciste", which is the band's lone foray into Ange-like theatrical prog. It tends to go a tad over the top, but does so with a style which can't be denied.