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PROG FOLK

A Progressive Rock Sub-genre


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Prog Folk definition

In the wake of the 1960s, a Folk revival started on both sides of the Atlantic, and got quickly linked with a protest movement, not always, but often linked to more left-wing tendencies, which did not sit well with the authorities. BOB DYLAN, JOAN BAEZ, WOODY GUTHRIE, JOHN DENVER, BUFFY STE-MARIE, but also the FARINA couple Richard and Mimi for the US and SHIRLEY COLLINS and EWAN McCOLL (mentor of BERT JANSCH, JOHN RENBOURN ) for the UK and HUGUES AUFRAY in France. In Quebec, there was the "Chansonniers" phenomenon among which CLAUDE LEVEILLE and FELIX LECLERC were the most popular, waking up the sleepy "Belle Province" and stand up for itself from the English rule. The English part of Canada also brought up JONI MITCHELL, LEONARD COHEN (although he was from Montreal) and NEIL YOUNG.

As DYLAN turned electric with his Highway 61 Revisited album, much to the dislike of purists who yelled for treason, Folk Rock was born, opening the floodgates for younger artists to turn on the electricity. As DYLAN soon abandoned to style to create Country Rock with his next album, his British equivalent Scotsman DONOVAN stayed true to Folk Rock. In the US, THE BYRDS were the main promoters of the style by now, culminating with the superb "Eight Miles High" track with a lengthy (for the times) guitar solo of almost one minute. But countless other bands on the west coast, such as LOVE, JEFFERSON AIRPLANE (and later its spin-off HOT TUNA), GRATEFUL DEAD, QUICKSILVER MESSENGER SERVICE, PEARLS BEFORE SWINE, and TIM BUCKLEY all started in the folk rock realm. Even San Fran's SANTANA with its Latino traditional music and, on the east coast, NY's THE LOVING SPOONFUL had folk roots. Notwithstanding the immense popularity of SIMON & GARFUNKEL and their delicious harmonies, Folk Rock was appealing only to the rock public as the older generations turned their backs in folkies.

In the UK, following on their countrymen DONOVAN, many Scotsmen were very influent in exploring new grounds for folk rock: INCREDIBLE STRING BAND (led by Scots Palmer and Williamson) with their two highly influential albums "5000 Layers Or The Spirit Of The Onion" & "The Hangman's Beautiful Daughter" and THE PENTANGLE (led by other Scots Renbourn, Jansch and McShee and their superb bassist Danny Thompson) and its incredible fusion of folk, blues and jazz style were very instrumental in developing the style to the same extent as FAIRPORT CONVENTION and STRAWBS who by that time were still more conventional US "west-coast folk rock". The single artistes in folk rock became known as Folk Troubadours were also numerous and often presented a more progressive side of folk: AL STEWART, NICK DRAKE, ROY HARPER, TYRANOSAURUS REX (actually a duo of Steven Took and Marc Bolan) , JOHN MARTYN etc.

However, the real angular album that will lead to further change of Folk Rock is FAIRPORT CONVENTION's "Liege & Lief" album, that proved to be highly influential for another generation of groups: this album concentrated into electrifying seminal English traditional folk and retained that quaint Englishness taste. It is interesting to see that both leaders of FAIRPORT quit the band after this success to go their respective way: Sandy Denny to a solo folk songwriting career and Ashley Hutchings to a very traditional folk rock. By this time, most connoisseur were talking of Acid Folk, Psych Folk, and Progressive Folk, all having limited differences and no particularly drawn-out limits or boundaries, but all relying on experimental or groundbreaking adventures and good musicianship but not necessarily of an acoustic nature.

Groups like THE THIRD EAR BAND and QUINTESSENCE relied on eastern Indian music influences and, sometimes, medieval tones. Other groups like the weird COMUS, TREES, SPIROGYRA, FOREST, the superb JAN DUKES DE GREY but also TRADER HORNE, TUDOR LODGE, FOTHERINGAY, MAGNA CARTA, and TIR NA NOG were out to break new ground but with less commercial success as their predecessor. By 1972, all of the glorious precursors bands were selling fewer records and had problems renewing themselves and a newer generation of groups was relying in a more Celtic jigs or really traditional sounds. Such as HORSLIPS, DANDO SHAFT, STEELEYE SPAN, AMAZING BLONDEL, ALBION DANCE BAND and SPRIGUNS OF TOLGUS. Although JETHRO TULL had some definitive folk roots right from the start, their only albums that can be regarded as Prog Folk are 1977's Songs From The Woods and 1978's Heavy Horses. Ian Anderson (another Scots) was very keen in acoustical traditional songs. Some Folk Troubadours such as TIM BUCKLEY and JOHN MARTYN started turning records more and more axed towards fusing jazz and folk (a bit in what THE PENTANGLE were doing) , others became more and more electric and they started to be referred to as Singer Songwriters especially those with country rock influences.

In Germany, HOELDERLIN (and their fantastic debut album), EMTIDI, OUGENWEIDE, CAROL OF HARVEST, WITTHUSER & WESTRUPP were exploring German folk while KALACAKRA , SILOAH and EMBRYO were indulging with Indian music. In South America, most notably in Chile, LOS JAIVAS (very bent upon Andean Indian music) and CONGRESO (more Spanish-Latino folklore) were using folk in their rock, so much that some press talked about them referring it with the hateful term Inca Rock. In Quebec, the progressive movement exploded with the cultural identity and the Chansonniers tradition and this was carried out with LES SEGUIN and HARMONIUM and so many more. In France, many groups were out for folk rock such as CATHERINE RIBEIRO AND ALPES, TANGERINE, and ASGARD. In Spain, Flamenco playing a dominant role as well as Basque folk, TRIANA, ITOIZ and HAIZEA were the head of the movement once the Franco regime fell apart after his death.


There is also a very important medieval music influences dimension in some groups as the term Medieval Folk was also mentioned for a while but apparently dropped by musicologists. Among the UK groups are obviously GRYPHON, GENTLE GIANT and THIRD EAR BAND, in France: MALICORNE and RIPAILLE and in Scandinavia: ALGARNAS TRADGARD and FOLQUE.


Hugues Chantraine
with hyperlinks and updates by Ken Levine December 2017

Current Team as of December 2017

Bob Moore aka ClemofNazareth
Ken Levine aka Kenethlevine
Sean Trane

Prog Folk Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Prog Folk | More Top Prog lists and filters

4.63 | 3041 ratings
THICK AS A BRICK
Jethro Tull
4.34 | 2391 ratings
AQUALUNG
Jethro Tull
4.18 | 1301 ratings
SONGS FROM THE WOOD
Jethro Tull
4.26 | 186 ratings
ST. RADIGUNDS
Spirogyra
4.40 | 75 ratings
ERWARTUNG
Eden
4.21 | 296 ratings
ALTURAS DE MACHU PICCHU
Jaivas, Los
4.21 | 195 ratings
MICE AND RATS IN THE LOFT
Jan Dukes De Grey
4.14 | 564 ratings
RED QUEEN TO GRYPHON THREE
Gryphon
4.14 | 501 ratings
FIRST UTTERANCE
Comus
4.16 | 305 ratings
GRAVE NEW WORLD
Strawbs
4.16 | 303 ratings
HERO AND HEROINE
Strawbs
4.44 | 41 ratings
LUCAS
Araújo, Marco Antônio
4.05 | 1134 ratings
STAND UP
Jethro Tull
4.20 | 90 ratings
I A MOON
North Sea Radio Orchestra
4.08 | 271 ratings
THE HAZARDS OF LOVE
Decemberists, The
4.03 | 1063 ratings
HEAVY HORSES
Jethro Tull
4.14 | 122 ratings
BELLS, BOOTS AND SHAMBLES
Spirogyra
4.15 | 111 ratings
BASKET OF LIGHT
Pentangle, The
4.03 | 1099 ratings
MINSTREL IN THE GALLERY
Jethro Tull
4.02 | 1338 ratings
A PASSION PLAY
Jethro Tull

Prog Folk overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Prog Folk experts team

THE WATERS OF SWEET SORROW
Midwinter
NYA LJUDBOLAGET
Nya Ljudbolaget
THROUGH THE GATES OF DEEPER SLUMBER
Smell Of Incense
VALHEISTA KAUNEIN
Scarlet Thread

Latest Prog Folk Music Reviews


 Secos & Molhados by SECOS & MOLHADOS album cover Studio Album, 1973
4.20 | 25 ratings

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Secos & Molhados
Secos & Molhados Prog Folk

Review by Mellotron Storm
Prog Reviewer

4 stars 4.5 stars. I'm rating this the same as their followup but I slightly prefer this one, more consistent even if my favourite song by them is on the second album. Both albums are in the same style with lots of acoustic guitars along with male and female vocals. Again plenty of short tracks and a folky vibe but the songs are so meaningful and well done, I just love their sound. A three piece but with seven guests filling out their sound.

"Sangue Latino" opens with bass and drums as strummed guitar and female vocals arrive. She has such a nice voice. "O Vira" has some distorted guitar to start as it kicks into an uptempo, catchy sound with male and female vocals. Hard not to move to this one but it's far from a favourite. We get a guitar solo after a minute and accordion late.

"O Patrao Nosso De Cadia Dia" opens with bells ringing out before some warm acoustic guitar takes over then female vocals. Flute after a minute as the vocals step aside. Contrasts continue then bells end it. "Amor" has strummed acoustic guitar before the bass and drums kick in. Multi-vocals follow. Great sound! Love that bass too. Harmonica before 2 minutes followed by vocal melodies. The bass continues to be upfront. Nice.

"Primavera Nos Dentes" is one of my favourites. The piano tinkles away as the bass supports before the drums join in then guitar. They seem to jam here in a relaxed manner. Male vocals 3 minutes in. So good! "Assim Assado" opens with drums and percussion as the bass and flute join in with fuzzed out guitar. Female vocals then multi-vocals. It picks up after 1 1/2 minutes instrumentally as the vocals stop. It settles with female vocals. Flute and percussion end it.

"Mulher Barriguda" features drums and upfront bass before the piano and vocals kick in. A festive mood here as female vocals lead the way. Harmonica will come and go. Some vocal melodies late. "El Rey" has strummed acoustic guitar and female vocals. What a beautiful sound and we get some flute as well. "Rosa De Hiroshima" is mainly flute, acoustic guitar and female vocals.

Prece Cosmica" has a catchy sound with male and female vocals. Violin a minute in as electric guitar follows. A cool tune. "Rondo De Capitao" has these vocals and flute that almost trade off but they do overlap as we also get some picked acoustic guitar. "As Andorinhas" opens with rolling drums followed each time by outbursts of sound before female vocals and piano take over.

"Fala" is such a good closer with piano, female vocals, bass and a beat. I like the vocal melodies. Some adventerous sounds too with that violin, synths and orchestral movements. A great way to end this fantastic record.

Yes I am so into their sound that I forget I'm not into short tracks and folky music. What can I say, this must be magic.

 Secos & Molhados (II) by SECOS & MOLHADOS album cover Studio Album, 1974
4.35 | 16 ratings

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Secos & Molhados (II)
Secos & Molhados Prog Folk

Review by kenethlevine
Special Collaborator Prog-Folk Team

4 stars Buoyed by the unprecedented success of their first album and subsequent tours, SECOS & MOLHADOS quickly entered the studio to record a follow up. Unfortunately, several rifts over finances emerged and the band split before the album was even released, never to reform in its classic incarnation. The album also sold very well and, even more remarkably, is vastly superior to the debut, with a more punchy production, an engaging breadth of styles, and complaisant playing and singing all round.

From the opening notes of "Tecer Mundo", with its lyrical clarity and succinct plucked guitars, the listener is captivated. A somewhat liberal borrowing in the vocalise section from CAT STEVENS' classic "Wild World" is discernible and comforting to those weaned on the singer songwriter era. "Medo Mulato" evinces an Eastern European flair, with lively piano and even accordion for a street wise ambiance. "Voo" is quite a departure, with furiously strummed electric and acoustic guitars, spacey keyboards and harmonica over irresistible Brazilian rhythms, guaranteed to appeal to fans of conventional "world music". Its abrupt ending is part of a pattern here, which seems neither intentional nor effective, almost as though conflicts in the studio cut the sessions short and the production guys and gals spliced together what they could. Still, this is a minor quibble. Even songs like "Angustia", not in a style I generally care for, are handled with restrained panache lacking on the earlier release.

Unlike on the first album, a series of diminutive cuts towards the latter half is wholly compelling, with "Caixinha De Música Do Joao", "O Doce E O Amargo" and "Preto Velho" cumulatively totaling barely 4 minutes while deserving of epic status, reflectively arranged with flutes, acoustic guitars, and piano, and intensely melodic. I might have kept them together as one but that is easy enough to arrange with today's technology.

Most reviews floating about the web seem to rate both original SECOS & MOLHADOS albums about equally. Given the unprecedented buzz generated less than a year earlier, I would argue that this effort had to be better just to avoid being stamped with the sophomore jinx, and that it is, by far. I'm glad I gave them a second chance.

 Secos & Molhados (II) by SECOS & MOLHADOS album cover Studio Album, 1974
4.35 | 16 ratings

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Secos & Molhados (II)
Secos & Molhados Prog Folk

Review by Warthur
Prog Reviewer

4 stars Secos & Molhados' second album was much the same as the first in approach, with the major distinction being a little extra polish and sophistication in the mixture of traditional Spanish and Brazilian folk sounds with glam-art rock music. Ney Matogrosso takes vocal duties once again. It's only about 28 minutes long, so if you are after a long listen you may be disappointed - though if you wanted to listen to the debut and this one all in one sitting that's decidedly viable. Those who value quality over quantity will, in general, be quite pleased with what's on offer here, so long as they don't have something against foreign-language vocals (and I'd say that's more a problem with the listener than the music).
 Macalla by CLANNAD album cover Studio Album, 1985
4.32 | 15 ratings

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Macalla
Clannad Prog Folk

Review by Warthur
Prog Reviewer

4 stars Macalla came out at the height of Clannad's commercial success - hence Bono's appearance here on the duet In a Lifetime. That song is, to be honest, a bit of a clunker, Bono's vocal approach not really suiting the more ethereal atmosphere of Clannad's music, but the rest of the album is a decent bridge between the pop world and the Celtic New Age material they had become known for. Essentially, synth-heavy 1980s soft pop takes the place of folk in the Clannad formula this time around, but it's soaked in enough New Age atmosphere and ancient spirituality that the end result still feels satisfying.
 Fjernsyn I Farver by TUSMØRKE album cover Studio Album, 2018
5.00 | 2 ratings

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Fjernsyn I Farver
Tusmørke Prog Folk

Review by Progfan97402

5 stars Yet only another six month wait for a new Tusmørke release, right on the heels of the children's prog album Bydyra and is the logical followup to Hinsides as it's back to an adult approach. Children's chorus gone, so are the badger, squirrel and crow costumes back to their usual robes. The lineup is the same as usual, Benediktator (Benedikt Momrak), brother Krizla (Kristoffer Momrak), the Phenomenon Marxo Solinas (Lars Frederik Frøislie) and HlewagastiR (Martin Nordrum Kneppen). Håkon Oftung (Dauinghorn av Jordsjø, Jordsjø a wonderful prog rock band headed by him) was not part of this so it's back a guitarless format. What sounds like a guitar is a heavily fuzzed Hammond organ from Lars or heavily fuzzed bass from Benedikt. Anyways, Fjernsyn I Farver (Color Television) was released on Karisma as was Bydyra, and it's such a drastic departure from Bydyra, but not that drastic from their usual stuff. This is perhaps their most aggressive album, almost like a polar opposite of the partially lightweight Hinsides with only "Borgerlig Tussmørke" the only ballad on the album, and it really has a more symphonic prog feel to it, rather than the lullaby feel of Hinsides. The title track is a wonderful opener, with aggressive fuzzed organ but I really love how it goes into a beautiful flute passage. "Kniven I Kurven" had that wonderful Nordic feel but keeps up with that harder edged approach of this album. "3001" and "Death Czar" almost borders on hard rock, while "Tøyens Hemmelighet" goes off with a bang, more in tune with the first couple of pieces although I wonder what was up with that disco hi hat Martin uses here (he did something similar on Ført Bak Lyset). Martin must at least like some disco to include a little disco beats in a Tusmørke album but do it in a way not to offend progheads.

To me I really think this is their finest album since Underjordisk Tusmørke, if not their finest. Sure the vocals of Benediktator may not be too everyone's liking and I'm sure it's his vocals the major indicator if you'll enjoy Tusmørke or not. Regardless so happy to own this album, although the inner gatefold of the LP is in bad taste. Still the music blew me away and with getting.

 Secos & Molhados by SECOS & MOLHADOS album cover Studio Album, 1973
4.20 | 25 ratings

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Secos & Molhados
Secos & Molhados Prog Folk

Review by kenethlevine
Special Collaborator Prog-Folk Team

3 stars In assessing this classic Brazilian release from 1973, one that enthralled millions at the time and influenced thousands in the decades since, I feel almost as heretical as SECOS & MOLHADOS surely were at the time. Visually part of the glam movement, with a lead vocalist who in short order professed sexual interest in men, their mere existence flouted the military dictatorship of the time. They grew out of the Tropicalia movement of the 1960s which was spearheaded by OS MUTANTES among others, and that forms a pretty reasonable summation of their sound at the time of this debut. To those who have arrived here via the prog folk classification, I must warn you this isn't especially folky, acoustic guitars and woodwinds notwithstanding, but that does seem to be the default position when world music trumpets its presence in these parts.

Not surprisingly, the more acoustic oriented pieces have aged the best, with the opener "Sangue latino" (Latin blood) being the strongest, an irresistible bass line lying down first and having its way with the strummed and picked guitars that form the upper layer. Most strikingly is the voice of Ney Matogrosso. To say it's androgynous is to imply ambiguity of a sort, but his pitch perfect and versatile counter tenor is a ringer for a woman singer, and an accomplished one at that. His voice is one of the calling cards of the group, and, while later lineups did not include him, it's hard to think of them as emanating from the same collective. Other superb contributions in this vein are "Amor", again with killer bass but also harmony vocals.

In contrast to the sultry acoustic numbers are the more upbeat fuzzy leftovers from a bad 1960s hangover. "O vira" would be one of the best/worst examples. The approach is light and silly while retaining musical professionalism, like the aforementioned OS MUTANTES but also like what QUEEN would cash in on a few years later. I'm not sure if this would have been considered groundbreaking at the time, but my prog antennae barely rise from the horizontal.

A suite of 5 tracks toward the tail end all clock in at barely 2 minutes or less, and, apart from the mammoth 2:02 length "Rosa de Hiroshima", are predictably both pretty and as fleeting as the proverbial ephemeroptera. Sadly, this lineup mimicked said life cycle, and split before their follow up was even released. I realize that awarding two stars for a landmark debut might result in my certificate of cultural competency being shredded before my eyes, so a weak 3 stars it is. I'm not saying you had to be there in both space and time to fully appreciate SECOS & MOLHADOS' calling card, but I'd wager a tastefully stocked boutique of wet and dry goods that it would sure help.

 Secos & Molhados (II) by SECOS & MOLHADOS album cover Studio Album, 1974
4.35 | 16 ratings

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Secos & Molhados (II)
Secos & Molhados Prog Folk

Review by Mellotron Storm
Prog Reviewer

4 stars 4.5 stars. SECOS & MOLHADOS were a band from Brazil who had an unexpected hit with their self-titled debut released in 1973. This is the followup from 1974 but the band apparently disbanded before this was even released. First off I'm not into Folk music or acoustic music and we get both in spades here, in fact we get no less than 4 acoustic guitar players on this album and one of them plays electric guitar as well. The other issue I thought I'd have is that we get 13 songs over around 28 minutes of running time, well you do the math. Boy was I wrong about these perceived problems I thought I'd have. We get female vocals and two male singers who also play acoustic guitars, and this is the core of the band, a trio plus many guests. Piano, organ, accordion, harmonica, flute, bass and drums besides the guitars and vocals.

I have been playing this on and off for about a month and I've really fallen for this album. This band creates melodic and meaningful songs that are consistently very good throughout, in fact there's just one track I'd leave off if I could. It all works, the acoustic guitars with the addition of the electric one which is always a pleasure. The flute, piano and vocals all inspire. My favourite is "Flores Astrais" with that meaningful piano intro that moves me every time. Electric guitar, acoustic guitars, drums and more take over before we get multi-vocals. I like the vocal melodies too after 1 1/2 minutes. Flute a minute later. The opener is one of those songs that takes me to old West. It's the castanitas bringing Mexico to mind and cowboys for me. Female vocals and bass join in and I like the vocal melodies before 1 1/2 minutes.

"Nao; Nao Digas Nada" is a beautiful track with acoustic guitar, female vocals and flute. "Medo Mulato" opens with piano melodies before determined female vocals join in and more. Flute too in this catchy yet adventerous track. "Oh! Mulher Infiel" is another outstanding piece despite being a fairly simple Folk tune with reserved male vocals and acoustic guitars. Tasteful. "Yoo" is such a joyous tune and I like that bass intro before drums, guitars and multi-vocals kick in. Harmonica follows as the vocals stop and they will trade off. "Angustia" is another winner opening with acoustic guitar and tapping before percussion then female vocals join in. Check out that cool sounding electric guitar late.

"O Hierofante" is the one I'd leave off, too commercial sounding I guess. I'm just not into it. "Caixinha De Musica Do Joao" is a melancholic piece with piano and vocal melodies. My kind of tune. "O Doce E O Amargo" has a beautiful sound to it led by vocals and acoustic guitars. "Preto Velho" again features acoustic guitars and vocals, male this time with some vocal melodies late. Delirio..." is so uplifting with the female vocals, piano, drums and electric guitar which solos after a minute. "Toada & Rock & Mambo & Tango & Etc." ends it with a pretty descriptive title no?

Nothing much left to add and it's interesting reading people's opinions when comparing their first two albums as both are rated very highly. I'll let you know about the debut at a later time.

 Killandra by SHINE DIÓN album cover Studio Album, 1998
3.16 | 6 ratings

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Killandra
Shine Dión Prog Folk

Review by kenethlevine
Special Collaborator Prog-Folk Team

3 stars This Norwegian duo, accompanied by hired hands, notably on mellotron and wind instruments, has largely succeeded in integrating a smorgasbord of folk and prog influences, among them LOREENA MCKENNITT, CLANNAD, ENYA, BLACKMORE's NIGHT, and MIKE OLDFIELD. On balance the folk wins out, but the moody and atmospheric aspect to most of the material does speak to an adventurousness not always accentuated in folk music by the numbers.

While it's unclear if they heard Spanish Oldfield follower ENGEL's only album and the discography or landmark Welsh band MABSANT, at times they more closely approximate those less internationally renowned artists, for instance, in "Dawn" and "Rowan's Song" respectively. In fact, Janne Hansen's larynx is quite reminiscent of that of the late Siwsann George from Mabsant, a group that also occasionally "sax"centuated their arrangements. Her counterpart Per Selor trades in languid Oldfield like lead guitar solos, but perhaps not as often as enthusiasts of that style would prefer. In the vivacious opener "Flow" I think fondly back to the WATERBOYS unjustly overlooked "Room to Roam" from 1990.

The fundamental flaw is that I'm not hearing much of their own style in this enjoyable release, although the furrow they plough is unique enough for Norway I suppose. Nonetheless, this is an accomplished debut that should please fans of Celtic influenced folk.

 Tracce Mediterranee by INDACO album cover DVD/Video, 2006
3.35 | 3 ratings

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Tracce Mediterranee
Indaco Prog Folk

Review by Asiostygius

4 stars The musical content is superb, good selection of the catalogue of this supergroup. Rodolfo Maltese (R.I.P.) is a gentleman and apart from a good performer, not only on guitars but also on horn, he tells us the origin and trivia about several of the tracks. Several guests present good contributions to some tracks. Glad to see the contribution of Di Giacomo (R.I.P.), with some funny conversation, but sad at the same time because his tragic death 4 years ago. My main complaint is for the filming crew: 80% of the time they focus on the wrong musician; for example we have a guitar solo and the camera is focused on the percussionist doing virtually nothing! The most overlooked guy by the cameraman is bagpipe and flute player. I confess this was a frustrating experience. Perhaps because this BTF is offering this DVD for a truly cheap price at the moment! Anyway I do recommend this historic document. In general ****1/2 stars because the filming, a ****1/2 to ***** stars for performance.
 Hoelderlin by HOELDERLIN album cover Studio Album, 1975
4.03 | 77 ratings

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Hoelderlin
Hoelderlin Prog Folk

Review by Mellotron Storm
Prog Reviewer

4 stars This review has been a long time coming. Having been a fan of this German band's debut for many years it's about time I talked about the self titled followup. Interesting enough this was released in 1975 some 3 years after the debut even though it was ready to go a couple of years earlier, legal issues caused the delay. The female singer from the debut has left and the band has changed from being mainly a Folk band to making an album that really splits the Folk and Symphonic sub-genres down the middle. More mellotron on this self titled album as well. Tough for me to pick one over the other to be honest. I like the cover art on both as well.

"Schwebebahn" is the opening instrumental that they would open many a concert with. Solemn piano to start with drum rolls but soon the viola is soloing over top. So good! Mellotron after a minute as the tempo picks up, guitar too! A calm before 2 minutes but it picks again with percussion and bass then it builds. The drums are active with percussion as the viola comes in over top again along with the mellotron. It ends like it began. What an opener with tons of mellotron in that Symphonic style.

"I love My Dog" is a folky piece with some guest alto sax. Acoustic guitar, flute and more to start as relaxed male vocals join in. A song about man's best friend. I love dogs! It picks up after a minute with drums, flute and acoustic guitar leading. Vocals and that folky sound are back after 2 minutes. Contrasts continue. Great sound 3 1/2 minutes in with those soaring vocals. A sax solo after 4 minutes continues to the end.

"Honeypot" is another folky tune with almost spoken vocals as he tells us the story. This is cool. Acoustic guitar and flute to start as those vocals join in. Some passion before 2 1/2 minutes with the instrumental work as the vocals step aside. The violin starts to light it up and the mellotron joins in as well. I like the intensity after 4 1/2 minutes. It calms back down around 6 1/2 minutes with violin, piano and more. Vocals are back before 8 minutes and there's humour in those words.

"Nurnberg" has a real GENESIS vibe to it even the vocals somewhat. Piano, a beat and acoustic guitar help out on this folky piece.

"Deathwatchbeetle" is the side long closer clocking in at 17 1/2 minutes. Interesting that Conny Plank helps out with the synths and vocals here. Yes it gets a little experimental during those sections Plank helps out on not surprisingly, giving us a taste of that Krautrock spirit. It's catchy with piano, drums and more before settling in as bass and synths help out. A calm with piano only then the viola joins in. Vocals before 2 1/2 minutes as it picks up again. It settles again as the tempo continues to shift. Some organ after 7 minutes and more depth of sound before 8 1/2 minutes. Great section that goes on and on. Vocals return 11 minutes in as it settles back again. Some dramatic sounds(Plank) 13 minutes in. It starts to settle down before 14 minutes then vocals return and a Symphonic sound takes over. Mellotron! How uplifting is this before 15 minutes. Oh my! Some theatrical vocal expression(Plank) and sounds late as it winds down. Suddenly at 16 minutes it kicks in again with vocals for a big finish.

I haven't hear any of their music beyond this but I highly recommend the first two albums.

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Prog Folk bands/artists list

Bands/Artists Country
0.720 ALEACION Mexico
3 DAFT MONKEYS United Kingdom
AALTO Finland
RABIH ABOU-KHALIL Lebanon
ACCOLADE United Kingdom
ACCOLADE United States
ADARO Germany
AFFORESTED United Kingdom
AFION Croatia
AGAPE Canada
AGINCOURT United Kingdom
AIGUES VIVES Germany
AKTUALA Italy
NICU ALIFANTIS Romania
ALMÔNDEGAS Brazil
ALVA Multi-National
AMANITA Italy
AMAROK Spain
AMAZING BLONDEL United Kingdom
AMBER United Kingdom
AN DRO Germany
ANACRUSA Argentina
IAN ANDERSON United Kingdom
THE ANGELS OF LIGHT United States
ANNAMY Sweden
APARECIDOS Multi-National
AQUAPLAN Finland
AQUARIUM Russia
DAN AR BRAZ France
MARCO ANTÔNIO ARAÚJO Brazil
DAN ARBORISE United Kingdom
THE ARBORISTS Canada
ARIA PALEA Italy
ARMY OF BRIARS United Kingdom
ARTSRUNI Armenia
ASGARD France
ASHADA Japan
ASHTAR Brazil
ASI SOMOS Puerto Rico
ATMAN Poland
AUCAN Argentina
AVALANCHE Netherlands
AVE SANGRIA Brazil
AZAHAR Spain
BABADAG Poland
BABY WHALE Multi-National
BAMBIR / THE BAMBIR Armenia
BANDA DO CASACO Portugal
A BARCA DO SOL Brazil
BARR Sweden
TOMAS BATISTA Argentina
BAYON Germany
BEAT CIRCUS United States
BEDEDEUM Italy
BERNARD BENOIT France
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