ACT ONE

3.5 stars really!!! This debut album is a better example of what is called proto-prog but its main flaw is also to be one of the earliest examples of derivative albums of better known groups. When putting an ear on this vintl , on e cannot help to think of two groups : The Nice and Deep Purple Mk I. This is not to say that the organ dominates that much the music but there are many moments where the Jon Lord/Keith Emerson influences are over-bearing and the guitarist is much in Line with Ritchie Blackmore and David O'list's great contributions on The Nice's Toughts album. Also the drumming is a little too derivative of Purple's Ian Paice's very original style.

Side I is more reminiscent of Mk I Purple's more prog moments and it is quite an enjoyment to get all of those greats solos and superb interplays. Side 2 is made up of two 11 min+ tracks which delve more into The Nice's early stuff. Beggar's Opera even make a reference to Blue Rondo A La Turque in the first track while the second track is IMO the highlight of the album. The Repertoire re-issue comes with two bonus tracks and they appear to come from a non-Lp single : Sarabande (3:32) and Think (4:25) are two great tracks that really add value to this promising debut.

However enjoyable this album may be , I cannot award more stars because of its tooo evident influences. Still worth a spin and Progheads are advised to check out the second album, which shows that those guys matured quickly and well.

This is a less pompous version of such "organ-drive progressive rock", in the vein of the late NICE and QUATERMASS that I don't like very much, but resembling also the band ELP as well, in a lighter vein (these latter in some circumstances only). They have got a stronger orientation to the hard rock stuff by DEEP PURPLE, unlike ELP and NICE, by adding however some sweltering guitar/organ interplays, whose long length, in a few songs fortunately, is quite bearable.

Interesting, but totally out of a "progressive rock contest"...

The reason I am giving this album 5 stars is for the excellent musicianship, and a far- reaching vision. Think about it: in 1970, when even Genesis were still finding their feet, and ELP has yet to unfold their wings, these guys had the prog sound dead on target. This is what prog rock is all about: tight intergration of classical music and rock, and a healthy dose of off-the wall humour. Break-neck organ and guitar passages, atmospheric interludes, unusual time-signatures, memorable themes, symphonic structure, quotes from classical compositions, these are all the things that make progressive rock what it is, and these guys got it all, at the time when the Beatles were still around! Of course the record has some glitches, like poor production and recording quality, but they can be overlooked when one considers that this music is well put together, and is at least three years ahead of it's time. in 1973, you could say - yeah, I've heard it all before. In 1970, you would say, wow! what the heck is THIS? Pure progressive rock like this probably did not even have a name back then! Great early prog at it's best.

Beggar's banquet!

Beggar's Opera's first album has, with the passage of time, gradually gained belated (but justified) recognition as a truly superb piece of work. The band, which hails from my native homeland (and in fact played at my High school around the time this album was released!), hit the ground running in terms of originality and imagination.

"Act one" precedes the Mellotron driven symphonic prog which featured on its immediate successors ("Waters of change" and "Pathfinder"), but is nonetheless heavily influenced by the classics. Consisting of just five tracks, it needs to be remembered that this album was released in the same year as Pink Floyd were moving from psych into prog with "Atom heart Mother", Genesis were only just getting beyond their Jonathan King phase with their first proper album "Trespass", and ELP had just come together and released their first album. With that in mind, it is difficult to explain why those albums have gained legendary status, while "Act one" is all but forgotten.

The album opens with "Poet and peasant", which borrows heavily from Franz von Suppe's overture of that name. The track features dominant Hammond organ, and the highly distinctive vocals of Martin Griffiths. The music has something of an early 70's Italian prog feel to it. "Passacaglia" continues in a similar vein, with some Keith Emerson like (The Nice era) organ work, incessant time changes, and vocals through an old radio mike some 30 years before Arena used the same effect on "Contagion". If you listen carefully, you can here the introductory theme to "Sarabande" within the track. "Sarabande" was an excellent non-album single released at the time, which is now included as a bonus track on the CD version. "Memory", the final track on the first side of the LP is the shortest, and weakest track on the album, but it still features some nice lead guitar to close.

The second side consist of just two long tracks. "Raymond's Road" is a lengthy instrumental collage of classical pieces played at breakneck speed. Hammond organ once again dominates the track, but the screaming lead guitars and galloping drums make the track reminiscent of Love Sculpture's (Dave Edmunds) mesmerising interpretation of Katchaturian's "Sabre dance". While "Sabre dance" does not actually appear, other classical pieces which do include "Toccata", "Peer gynt", and "William Tell". Tellingly, there's also a brief rendition of "Karelia Suite" which sounds very similar to the Nice's "Five bridges" interpretation. The album closes with another Suppe based piece, "Light cavalry". This is similar in structure to the opening track, with vocals and classical variations.

While the band take full credit for the compositions throughout, no attempt is made to disguise the classic pieces which have been borrowed when making the album. Generally, they do not appear to be taking themselves as seriously as say ELP, giving the album a definite air of fun. Heard for the first time today, "Act one" will undoubtedly sound dated. Given it's place in the timeline of prog however, it is a genuine landmark album, full of originality and fine musicianship. It might even be appropriate to classify the album as, dare I say, seminal.

A couple of interesting footnotes. The album was produced by Bill Martin and Phil Coulter who wrote many hits songs including Eurovision song contest winner "Puppet on a string" for Sandi Shaw, and runner up "Congratulations" for Sir Clifford of Richard (but don't let that put you off!). It was originally release in 1970 on the Vertigo "swirl" label. First edition LPs in pristine condition with untarnished sleeves are now very collectable, and change hands for exorbitant prices.

Edited 09/29/05!

Somehow I love this band still nowadays maybe because it's a very early love for me. I liked their music very much as a teenager and when I put it today every now and then into my player I still like it.

Okay let's come to their first work which is heavily influenced by classical music, but unlike with many other bands by the serious and heavy one more by the lighter operetta music, namely by the compositions of Austrian Franz von Suppé in the tracks "Poet And Peasant" and "The Light Cavalry". Their whole music is centred by Alan park's awesome organ play with a solid rhythmic basement. Both tracks are surely not very complex, well it's light classical music arranged for rock, but nevertheless they're offering plenty of variability. Rest of the songs are no classical arrangements but still sounding very much influenced by classical music. On "Passacaglia" there's a nice contrast between the organ dominated first and last parts and the relatively heavy guitar-driven middle one.

Beggars Opera's music might sound dated nowadays to some (especially younger) ears. I'd like to express it in a positive way, it possesses some nostalgic charming and moreover it lacks the usual bombastic and pathetic features of some other kind of classical inspired music. For me worth 4 1/2 stars!

One of my alltime favourite albums! And its funny how I came across it. Back in '88 I bought a box of albums off an art teacher of mine.Beggars opera was in the batch so I threw it on the turntable and gave it a listen.The first track floored me! Its exactlly what I was looking for..psychedelia on full speed and tight.No sloppy filler muzak here.Every track after that had me grinning from ear to ear! And heres the crazy thing.I was in England for my uncles funeral and was talking with his wife's brother.We talked about music and I told him my favourite album is Act one by Beggars opera but before I could go on he stopped me and said 'I was the lead singer'. I could'nt believe my luck! He gave me a signed album of Waters of change and told me some hilarious stories from the days on the road. Anyhoo give it a listen its a good sampling of early seventies psychedelia.

Act one is one of those albums/cd's that will make you listen. Excellent musicianship, interesting compositions. Very nice interplay between organ/syth and drums. Other reviewers mention the interplay between guitar and organ, which is there as well. If you like progressive or just plain interesting music. Have a listen to it. If you can find it, get the one issued by the Repertoir label. That is a re-mastered version with some extra tunes. And the quality is amazing.

Beggar's Opera first album has an interesting mix of classical and rock music. This sounds dated today (I wonder what punk rockers would do if they had brains to listen to this album), but as a product of early 70's, it's just another piece at the puzzle of prog-rock. There are great musicians involved on this album (Alan Park sounds as a turbocharged Tony Kaye) and Ricky Gardiner knows how to play his guitar. Some compositions sounds a bit like The Nice (listen to "Poet and Peasant" and "Light Cavalry", two pieces written by classical composer Franz Von Suppé and arranged by the band) and another sounds like Deep Purple MK I ("Sarabande", a bonus track). Beggar's Opera was then a promising band, and this, their first album, is still worth of a good listen - but don't expect something unforgettable.

What a mindblowing debut-album this is! The very melodic and harmonic music from this five-piece band is based upon an incredible dynamic and propulsive rhythm-section and splendid, very exciting Hammond organ work, often accompanied by a powerful and fiery electric guitar. The interplay between the musicians is magnificent and the excertions on keyboards and guitar are very compelling, in the spirit of the late Sixties and early Seventies. The vocals are also worth to be mentioned: distinctive with an enthusiastic approach and often a bit cynical undertone but at some moments also warm and plesant. The highlight on this CD is the track "Raymond's road" featuring awesome guitarsoli (inspired by Hendrix and Page)and exciting work on the Hammond organ in the vein of the best Keith Emerson, including short renditions of known classical pieces from Bach and Grieg. AN EXCELLENT ALBUM THAT WILL PLEASE EVERY HAMMOND AFICIONADO AND FANS FROM THE EARLY SEVENTIES PROGROCK SOUND!!

Released in 1970, the debut album of this Scottish band should appeal to fans of the organ vs. electric guitar battles typified by Deep Purple. Emersonian keyboardist Alan Park must have been classically trained, as familiar runs appear throughout the album, beginning none too subtly with the first song Poet and Peasant, based on the overture by Franz von Suppe.

Unfortunately this is one of the weaker tracks on the album. Musically, the organ sounds like that of the Three Sons, or something you might here on a carnival carousel or roller skating rink; rink-rock as my friend called it. The vocals by Martin Griffiths are dramatic and expressive, but he unfortunately goes over-the-top here, at times sounding like a bad attempt at a Halloween ghost "wo-wo-wo-wo-wo-wo - yeahhhhhhhh". Lyrically this song contrasts the leisurely life of the wealthy poet with that of the poor, hard-working peasant. Either these guys were art school boys, or 1970 Scotland was much more supportive of poets than any other culture in history.

Beginning with the second cut Passacaglia, the album finds the right groove. Vocals are subdued and processed to sound like old-time radio or megaphone on this one. The guitar comes to the front here, with an extended solo that rocks with some great wacka-jawacka that any 70's hard rock fan or prog guitar fan will love.

The next song, Memory could be off any early Jethro Tull album; romantic, slightly jazzy, with punctuating keyboards.

The instrumental Raymonds Road starts off with a keyboard thunderclap quickly building to a galloping and lengthy classical run which includes a brief Mozart passage. Ray Wilson's drums keep everything together, with a steady beat, and some nice fills of his own. Here the guitar solo is more acidy and dark. At nearly 12 mins, this song takes the listener for quite a ride including snippets of the 1933 pop vocal Temptation and the William Tell overture. Perhaps Raymonds Road was the location of the art school or Park's piano teacher?!

Light Calvary closes the original album in fine form. Melodic keyboards dominate the opening of this song, giving way only briefly for a short guitar part. Again, classical snippets are peppered into the mix. Lyrically, this song tells the story of a former light cavalry soldier, now a gray haired man.

Sarabande, the first bonus track, was recorded as a single and is the shortest track. The wacka-jawacka guitar from Passacaglia is the basis for this number; funky with some nice harmonies.

The final cut Think, with its echoed vocal parts, is somewhat more psychedelic than the rest of the songs here.

This stuff is beautifully played, with an overall optimistic feel. Fans of the Nice, ELP, Deep Purple and roller rinks are sure to dig it. Wo-wo-wo-wo-wo-wo - yeahhhhhhhh!

The first work released in 1970 "Act One". Debut work astonished at bold arrangement that borrows theme of classics. It is enough to enjoy it overall. And, the impression with a strong modern jacket is left more than the content. The work of Keef is an eminent masterpiece. It is classical rock of typical VERTIGO to similar GRACIOUS.

Beggars Opera is a great band and the Pathfinder was a masterpiece. This recording is still quite raw. There are elements present here that will mature in the coming albums. The singing is strong and there are glimpses of the great melodies to come. As some other reviewers have said there too much and too evident influences here. The Nice and Deep Purple Mk1 but also a lot of Classical material. Suppé is mentioned in the booklet but then there are parts from many compositions not mentioned. One is Sibelius Karelia Series. The Nice used the Intermezzo which is a short crescendo but Beggars Opera take the Alla Marcia which is IMHO much more interesting and has that rhythm...

I think that this is a good CD but not essential. If you should have one BO CD I would suggest the Pathfinder. I'm strugling between 4 and 3 stars. There are undoubtable moments that deserve 4 but the whole is a bit unsteady and therefore I think that 3 stars is the correct amount. Not essential but worth a listen.

Very fast paced, generally organ based symphonic prog. The rhythm section is frantically beating along in most songs with fast runs coming from the organ or rocking solos by the guitarist. Not much vocals on this record and for the most part (aside a few parts of track 1) they are decent. The solos may seem a little endless so if your not into that kinda thing. Otherwise though very good record!

Poet and Peasant- Rocking track soaked in lots and lots of organ, and a very nice, though after a while repetitive rhythm section. Lyrics a bit cheesy.

Passacaglia- Very nice song, organ takes a back seat for a while when the song gets some heavey riffs going and some nice soloing. Then it turns funky with some wah wah and more solos. Very nice guitar track with organ joining the rhythm. More speedy organ runs at the end.

Memory- Another solid song. This song is pretty balanced each intrument doing its part and none really dominating like in some of the other tracks. Tighter written song than the first two for sure which have a lot of soloing.

Raymond Road- Frantic rhythm section going in this track with organs taking the lead. Very classically oriented guitar and organ going on in the beginning. Then shifts into more rocking leads from the guitar and the organ gets to the floating type sound for a while. Definite rips or nods if you will of classical songs in this one. This song gets a little rambly especially in the second half with all the rips.

Light Cavalry- This track has some nice pace changes. There is better cohesiveness with more interplay between intstruments and less endless organ soloing.

Sarabande- Reminicient of the 2nd track with the funky hard beginning. Solid song throughout.

Think- Lots of Vocals in this one, this song is a bit boring imo.

Scottish 70's proggers Beggar's Opera signed to Vertigo label in the early 70's and carried that expressive yet highly progressively exploratory prowess found in many of the Vertigo bands. "Act One" was their debut album and featured some pretty amazing musicianship and song writing including an ode to composer Suppe's popular "Poet and Peasant" overture which opens up this album. Essentially this album is organ led with full support by the bass, guitar and drum. This album in many ways is my personal favourite of all their albums and I love the exploratory and unique space they explored on recording this gem. There are a couple of longer 11 min tracks as well which gives the band a bit more space to open up with musically. The Repertoire CD version also contains 2 bonus tracks that are circa 1970 and are nice to have as well.

In a glut of nostalga I decided to buy a boatload of CD's reminding me of bands I saw in my youth. I saw Beggars Opera a few times in their various line ups generally in tired run down College bars or University Refrectories made forums for the night. Beggars Opera were always at least excellent and shxt hot at their best.

The CD's (Act One, Waters of Change & Get Your Dog) are all credible and though lacking the live energy and rawness are nevertheless essential listeneing to an old fool like myself. All I need to do is turn up the volume loud enough for the bass to bend the floorboards, grab a few bottles of Newcastle Brown, close my eyes and I'm there...

Named after the eponymous poem of John Gay (from 1728),BEGGAR'S OPERA were found in late 60's in Glascow,Scotland and were signed by Vertigo Label.They debuted in 1970 with an excellent first LP ''Act one''.At a time when GENESIS or YES were trying to find their own identity,BEGGAR'S OPERA clearly mixed classical music with heavy rock,resulting a spectacular work.Comparisons with THE NICE are undenieable,but BEGGAR'S OPERA had a heavier and more polished sound.Sometimes they borrow classical pieces from famous composers transforming them into superb classical rock dynamites,other times they focus on playing original material with tasteful Hammond organ to the front and light beautiful piano passages.This is one of the best connections between classical music and heavy progrressive rock,which make this album an absolutely essential addition in your collection!

There seems to be a strong love/hate dynamic for this band and especially for this record, the band's first. Having lived through the first wave of prog and knowing how this record sounded in the context of that period, as well as now, I offer the following: Beggar's Opera, Act One was and still is a great record. BUT, is it 'classic' prog as many would define it? Depends on how you look at it. It has all the earmarks of the genre (with distinct lingering psychedilc traits): long songs, lots of keyboard-guitar instrumental interplay, quoates from classical epics, a clear nod to Emerson/The Nice's 'Rondo' template, and of course that sense of taking a musical journey, some would say 'TRIP', when listening to it. But in this case the trip is to a carnivalesque atmosphere where the band are the nightmarish creatures who greet us on the cover of this unique and truly one of a kind record. For younger listeners under age 30, think of a kinder & gentler Mr Bungle... decades before said Bunglers existed. Lets take it apart: a guitarist who sounded very much like Ritchie Blackmore, an organist who sounded like Keith Emerson without the 'cock' (testosterone) and aggressive tone, and a decidedly melodramatic 'London music hall' singer with a beautiuful & unique voice who conjures up images of what Dracula might sound like if he were a singer. Put all these together and you have the essential components of Beggars Opera on the Act One album, their debut. If you were to find yourself at a carnival, one of those magical older and picturesque kind found in the late 60s and early 70s, the Beggars Opera on this record would be the band you'd hear playing there....and you'd stumble onto them with great amusement and instant love, playing to a mesmerized little crowd on a makeshift stage next to the haunted house. You'd be amazed.You'd laugh and shake your head from side to side...I don't believe this! you'd say to yourself. You wouldn't want to leave and you'd wish they'd play forever as you watched & smiled & listened with utter astonishment and amusement. Is Act One cheesy? Yes, in a way.... but delightfully, lovably so. Is it fun? Hell yes. Exciting? YES! Great? YES, YES!! But you'll laugh WITH them, and hopefully not at them. Because thats the spirit here. And as many have keenly observed, there is a wonderful innocence and naivete to this band, who possessed no little amount of charm that has brought a smile to the face and glow to the heart of many a listener over the years. When and if you 'GET' what Beggars Opera were doing, especially on this record (the only one like it for them) then you'll be a fan for life. There never was or will be anothe band like them. But are they 'prog'?? In my book, YES. With a capital P.

"Act One" is the debut full-length studio album by Scottish, Glasgow based progressive rock act Beggars Opera. The album was released through Vertigo Records in November 1970. Beggars Opera formed in 1969 and found some success during their career. Especially in Germany where they also toured extensively through the early part of the 1970s.

Stylistically the material on "Act One" is in an organ driven proto-progressive rock style featuring a strong and organic playing rhythm section, hard rocking guitar riffs, and a skilled and versatile lead vocalist in front. Think The Nice but more hard rocking. As you can almost guess from the crazy artwork of the album, Beggars Opera also display a good sense of humor throughout the album, but it´s never too silly or out there. Just great uplifting and energetic music with loads of well played omnipresent organ. There´s a carnival/theatre music theme (Beggars Opera even incorporates classical music themes by Franz von Suppé) which runs through the album along with the harder rocking backing, so Beggards Opera certainly isn´t a one-trick pony. They also make room for longer improvised guitar- and organ solos, so that´s also a part of their sound.

These guys can play too and not just play...they are an incredibly well playing unit and for the musicianship alone, "Act One" is more than worth a listen. The album also features a powerful, organic, and well sounding production job, which provides the band´s music with the best conditions possible to shine.

So upon conclusion "Act One" is a good quality proto-progressive/progressive rock release from Beggars Opera, which combines both the adventurous ideas of progressive rock and the harder edged riffs and beats of hard rock and makes it work. A 3.5 star (70%) rating is deserved.

This was one of the first prog-albums I have ever heard. I got a recommendation from my friend when this was released back in 1970 and immediately like the one. I like to give five stars to this, especially when put to the right perspective. It was released at the time when this was something really new. Yes, you can say that there is lot of influences on The NICE and Deep Purple, but so there is always, nobody lives in isolation and every band has influence from outside.

Anyway, I like this a lot and wish that everybody interested in prog-music should listen this just to understand what it was in early 1970 when there were no studio tricks to help musicians. There is lot of virtuosity in this record, especially in keyboards but as well in drums and guitar as well.

Run for the hills, proggers in kilts with comedy breasts and bonus tracks!

I must have passed over this album cover hundreds of times while rummaging through Glasgow record shops back in the late 70's, all the while oblivious to the fact that my 'ain folk' had produced a Prog band to rival that of those produced by the oxygen thieves south of the border (the English, pah!)

Amazing I missed it really, given they were stalwarts of Glasgow venue the 'Burns Howff' and the frankly 'creepy' cover featuring the lads garbed in costumes discarded as 'just too outlandish' by the wardrobe departments of both Peter Greenaway and the Muppets. (The Queen Miss Piggy with the huge fake plastic breasts is particularly disturbing, even 38 years later)

'Poet and Peasant' - in accordance with the ambitious musical zeitgeist of the time, this is an adaptation of a 19th century classical overture by Franz Von Suppe. (A Romantic composer who is largely forgotten now, but you will probably recognize some of the music as it still crops up occasionally in adverts and movies etc) We get a real whiff of the Nice on the galloping bass and drum groove with the Hammond organ dominated keyboards of Alan Park very much to the fore. Mr P is a very fine player and contributes some fiendishly rapid runs and virtuoso solos throughout this record. Ricky Gardiner's guitar is largely that of a supporting role and he sensibly restricts himself to punctuating the climactic passages for emphasis and texture to avoid a demi-semi quaver pile up with the organ. The piece goes through many sudden changes but these are well arranged amongst the whole band with each player getting an opportunity to add his own unique timbre to the overall development. I know a lot of people who find Martin Griffith's vocals a tad cheesy and although I would concede he is firmly from the 'Camembert Humperdink' school, I like his voice immensely (although not perhaps as much as he does - Yep, you can almost 'see' the twinkle in his eye and he is clearly a very lovable fellow indeed)

'Passacaglia' - Like the previous number this is mostly instrumental and given its title, could very well be another classical adaptation (Dunno?) The melody from Griffiths is much more conventional but (marginally) less melodramatic than Poet as even here, his bravura delivery is filtered to lend it that quality of an old thirties wax cylinder record with the 'sepia tinged' effect conspiring to work very well on this track. The baroque ornamentation and affectations are halted dramatically at one point to embark on a wickedly grinding Hendrix groove featuring a particularly good solo from Gardiner which showcases the laddie has some fiendishly fast chops and a commensurate grasp of scale and note choice with which to inject some eastern/indian spice. The roles are reversed at this point and Park wisely takes a back seat to provide some room in the busy mix for the fuzz guitar to take the spotlight.

'Memory' - A chattering organ groove with a nod and a wink to Deep Purple that exploits space very effectively by leaving the vocal unaccompanied at periodic intervals which lends the lyrics more weight and the song more punch as a result. True to form, Griffiths milks these little windows of opportunity for all their worth with a suave and debonair crooner's relish. (as we speak, he is now employed in the 'scampi in einem basket' nightclub lounge circuit in Germany)

'Raymond's Road' - This reeks methinks of a rather sprawling collection of little arbitrary bitties and bobbies that although Beggars Opera rehearsed into sequential form, don't really belong together. Yep, it's one of those medleys that sound brilliant when you see a band live, but in the harsh glare of the morning after in front of the home stereo, never carries the same rush or excitement. Crashing reverb explosions and Leslie speaker siren effects a la the Nice on an intro heavily indebted to Rondo soon retreat to uncloak a string of classical quotations via Park's astonishingly nimble digits. Bach's already disheveled Toccatta and Fugue suffers further molestation at the hands of one of Prog's street gangs before they even quote verbatim very large chunks of Emerson's adaptation of Tchaikovsky's Pathetique. William Tell is fed and watered for a brisk canter and Greig's Hall of the Mountain King also gets the republican insurrection treatment. This is all very enjoyable and good fun, but the piece hardly stands up as credible composition in its own right.

'Light Cavalry' - The second of the aforementioned Von Suppe's overtures to divest the attentions of this Scottish 5 piece and a damn fine job they make of it too with a 'teasing' intro featuring some mock conservatoire chords and tongue in cheek whammy bar abuse from Gardiner. As soon as the main theme enters you will all recognize this music instantly (but no-one can ever remember the composer) Once again there is very accomplished high tempo unison playing and some tightly disciplined ensemble passages in an arrangement that never sits still for long. The mood darkens thereafter and we enter a sparser and more sombre harmonic realm for the first time on the album which comes as a welcome change after the unwavering exuberance of what went before. Gardiner contributes an atmospheric and lyrical guitar solo (but does sound a tad tipsy from too much time spent in Davy O'Lists whammy Bar) Raymond Wilson makes tasteful use of tom and snare rudiments to imbue the music with a suitably martial feel befitting this number and there is a nice growly bottom end provided by the improbably named Marshal Erskine. (which sounds more like a royal decree than a moniker)

'Sarabande' - I seem to find many songs from this era that resemble Deep Purple's Hush and this is yet another that exploits the latter's infectious groove and feel to memorable effect. Slopes along very agreeably with a truly inspired harmony vocal chorus until it veers off without warning into a charming little instrumental section via some beautiful organ playing from Alan Park. Even though I know its coming, it still manages to surprise and delight me every time. Sarabande was a charting single throughout continental Europe but met with stony indifference in the UK (which may have been down to Prog's hit singles are for horrid girly bands manifesto of the time)

'Think' - Motown quavers on the snare during the intro and what was hitherto 'capricious' comes across as 'convoluted' here. There are many good instrumental ideas on Think but it suffers from a paucity of memorable lyrical content and despite Griffith's most theatrical performance on the record he cannot redeem this song. Like many bonus tracks we are left with the rather bloated sensation you get when entering a restaurant after having just eaten.

I must admit that I do suffer from a sentimental attachment to this band (seeing as how they're Scottish y'all) but can honestly say that this is a very entertaining listen worthy of some of your time if you are at all receptive to the promptings of the Nice, Deep Purple, Atomic Rooster, Ekseption etc

Act One's main flaw is that it is extremely indebted to the work of the Nice (but let's take stock here, you are a progressive rock band inspired by classical music and have a virtuoso organ player, and you DON'T sound like the Nice?)

Beggars Opera are guilty of some amateurish lapses in taste on their treatment of classical source material but two more very good albums were to follow which addressed these shortcomings. We can only wonder why this extremely talented band appear to have met the same fate as that of the forgotten Franz Von Suppe.

4,2 Stars!

At least a good album. Beggar's Opera is a kind of band that can wash a human soul. To me, ''Act One'' is my favourite work from them (not that ''Waters of Change'' and ''Pathfinder'' aren't good, is just that I personally think this album is more creative and experimental, with a good sound mixing).

My highlights are ''Passacaglia'' and ''Light Cavalry''. What catches my attention in the first one is the outstanding duet beetween Ricky Gardiner's guitar and an edited version of Martin Griffiths' vocals. It's near impossible not to sing along or at least not to pay a high musical attention. Talking about the second highlighted piece (in my opinion the best), I can't hide my piece of internal musical happinesss when I listen to the keyboards riffs mixed with a plenty of good drum rythims that exist in this mini-suite.

If I had to point one dislike in this album, it would be the vocals in some parts of a couple of songs, that I personally think it would be possible to be more mixed and edited. However, this fact doesn't make any further damage to the album's union.

This is another good heavy rock album, fully keyboards driven and so typical of an era.

The band never played in the premier league, but the music available on this debut album is frankly very good. Coming out at the same time of some seminal rock albums (prog or not), this release definitely deserves more interest on PA.

The psychedelic years surely had an influence on the band (Passacaglia, Memory); but they added some heavier textures which made them somewhat original.

The second part of the album mixes some classical themes with the wildest beats you can think of. This is particularly true during the AWESOME Raymonds Road. It features an orgy of frenetic drumming (from . Raymond Wilson) and powerful keys. It is by far the best piece of music available and there is not a second of relief during these almost twelve minutes. It is great track in the tradition of their contemporary ELP, on the heavier side. It is my highlight from this very good album.

The other long track is not so performing IMO. It is yet another very pleasant psychedelic/heavy prog song but inspiration is not at its eight. It features a great guitar break (which is not quite usual on this album) and some frenetic parts as well. Light Cavalry is another excellent track which is another showcase for the excellent Raymond Wilson on the drums. And believe me: there is nothing light in here.

The bonus Sarabande is fully psychedelic and even Hendrix oriented while Think is very much like an old Purple Mark I song (but it is the only track I can related to one of my most beloved bands).

Four stars for this very good debut album. An ocean of great bands and creativity probably brought Beggars Opera behind the scene. It is a pity though.

The Glasgow based Beggars Opera is almost an unknown band. Which is a shame because they will appeal to all The Nice and ELP fans out there. I am one myself so I should know.

This album, their debut album, is a heady mix of the first incarnation of Deep Purple, Captain Beyond and The Nice. Add some of the '60s sound into the mix and you get the picture. Although they do some pieces of music later done by ELP, I would not compare them to ELP. The Beggars Opera sound is too much based on heavy prog to be included in the ELP universe.

The quality of the music is pretty good. It is not original due to be too much copycats of the above mentioned bands. I get the feeling of been there before, got the T-shirt to be overawed by this band. The guitars and the keyboards are clearly very inspired by Blackmore and Emerson. So much that this album does not have it's own identity, other than being the distilled version of 'Purple and The Nice. Songs like Raymons Road and Light Cavalery is good. The rest is OK.

This is not a bad album. But I still prefer the barley and the water on their own to this distilled product.

3 stars.

01. Poet And Pesant Keyed percussivo, and much 'excitement', a sort of soundtrack of silent movie of adventure. Impossible not to pay. The vocal of Martin Griffiths is very good, he has a very legal, somewhat serious insignia. The sound for hour psychedelic, prays virtuously, prays melodically is quite uncommon and interesting. The organ of Alan Park is another find also, always very quite tipsy and totally essentially to the sound of the band, giving a differential perfection.

02. Passacaglia Somewhat classic of beginning, medieval way. The effects of voice together with the melody of the guitar were completed, one of the most legal melodies what I heard. In the environment a small and quite tipsy ground of bass, and in the sequence a beautiful instrumental passage of guitar, and a certainty ' haste ' of the faces, almost a 'late' music (laughters). If in the track of opening of the disc who was giving the letters was the organ this way who is in charge it is the guitar of Ricky Gardiner. And after the madness completely we return to the sensational subject of the music. In the end the keyboard commands again, total church.

03. Memory Memory (the shortest of the disc), in does not remind of me what should be the commercial song of the disc at all, arranges what should be touched in the radio, since what we have here it is instrumental perfected, affected melodies, wha in the organ, passages of vocal one and sensational pauses. I would say a classic if I should discover. An almost acoustic guitar, and a bass marvellously well touched by Marshal Erksine, and it is a stupidity to talk again about Alan Park.

04. Raymond's Road The side 2 was left pras two bigger songs, Raymond's Road begins already totally crazy, instrumental 'train' passing without seeing for where it goes, with urgency of reaching the destiny. But that I am sure what the principal melody I already heard somewhere, only I do not manage to remind of myself of where, if anybody hears and knows if there is some known passage of some another place please they warn about me. In fact I think that he is still one ' best of ' of many sensational melodies on top of a more sensational base. The martial battery of Raymond Wilson always working perfectly beside the bass, and the guitar appearing undoubtedly from what it must be done. A beauty of collection of psicodelia without limits (not being them almost 12 minutes to which it was destined, laughters).

05. Light Cavalry This from here is a bit a Cavalry same (as the name says). And again with a series of melodies conhecidíssimas of all. There has a series of quite mighty battery this music and a vocal excellent melody! Fascinating much binds that one, with climatic variations up to the end, as a matter of fact as in practically the whole disc.

This disc of the Beggar's Opera is still an almost progressive-psychedelic album, the dominant insignia of the organ do so that that turns still more clear, do not stop them to me being a good audition!

An underrated gem

Call it destiny, bad luck or whatever, BEGGARS OPERA is a band, formed in the precise moment, being that they still have a strong Psyche influence, very appropriate for 1970 but had also advanced the extra step towards Symphonic Prog, you can say they played the right music, in the right moment, with great skills, but never got the place in history of Prog they deserved.

"Act One" is a superb debut with reminiscences of THE NICE, but IMO with better vocals, and despite not having a guy like Keith Emerson, the sound of the organ is simply fantastic, but against the odds, they are practically unknown by younger Progressive Rock listeners.

The album opens with the frantic "Poet and Peasant" based in the homonymous Overture by Franz von Suppé, a well known musical peace played even in cartoons of that time. The track starts with a short intro and then directly pass to the central section with a tremendous bass and drums work, the keyboards by Alan Park still show that classic sound of the late 60's but also a Baroque touch more consistent with the 70's. The voice of Martin Griffiths is just perfect for the music. Radical changes, excellent instrumental breaks, keyboard solos, this song has absolutely everything.

In "Passacaglia" we're not talking about a new version of "Bach's" work of the same name, but something like a tribute to the great musician and in general reminiscent of Baroque music, even when much faster

It's impressive to listen the vocals in second plane, perfectly distorted to sound as a radio transmission, create a great effect with the organ as the lead instrument, again the bass - drums interplay between Erskine and Wilson is simply outstanding. Around the middle of the song an incredibly radical change transports us to USA scenario, with a heavy Rock that could had easily been played by GRAND FUNK RAILROAD, just to mutate again returning us to the XVIII Century with the amazing organ.

"Memory" is the shorter track of side "A" (LP format), shorter and much more violent than the two previous, now we're talking about pure rock with great keyboards, the use of Mellotron is not so obvious as in other bands but still evident enough, the instrumental sections change from frenetic to soft in a matter of seconds, maybe a couple of hints of "Witches Promises" by JETHRO TULL, but must be coincidence, because both songs were released with only some months of difference. Some people find this song weaker than the rest of the album, I find it different and a necessary change. Special mention to Ricky Gardiner, who plays a killer guitar.

"Raymond's Road" opens side "B" (of the old vinyl format), a track in the vein of "Rondo" by THE NICE, featuring sections of Bach's Toccata & Fugue·, "In the Hall of the Mountain King" from "Peer Gynt" by Grieg, William tell Overture by Rossini, of course Mozart's "Turkish March"", etc. Not original due to THE NICE previous song, but still very nice to listen this sort of classical collages. Again the drumming by Raymond Wilson is simply breathtaking, not sure if the name is a reference to his name.

The original version is closed by "Light Cavalry", another version of Von Suppé's musical piece, this time much closer to the original, but still with time enough to enjoy the audience with the interplay between Park's keyboard and Wilson drums with very good vocals. Radical changes, Psyche jamming sections, this track has everything, good closer

My CD version has two bonus tracks, the excellent "Sarabande" and "Think", but as always will limit my review to the original release, because that's the way the author made it to be listened.

Not a masterpiece, but close to the status, 4 solid stars.

Before I started to love mellotron, I loved Hammond organ and perhaps I still do. Title track "Poet and Peasants" pleased me. Not only for H. solos, which are by the way perfectly, but also something like pompous style of Martin Griffiths vocal style. But the biggest importance of this album lies in. Classical music. Because these tracks has nether original melody composed by BO, or uses music of well known composers of past times. First I though that just "Raymond's Road" has these traits, but after little bit information (thank you Google), I realize that it's in almost all of these tracks as major theme, or more themes. Of course, this is modern approach and in fact, this is one of meaning of progressive music, to take previous music to another level.

Classical music with medieval themed lyrics, fast pace, rock instruments joined with then usual little bit of psychedelia. I found myself quite interested in this approach. Last time it was symphonic Yes and before that, London Symphonic Orchestra and their rock hits. Well, I suppose it can work both way, classical => rock, rock => classical. You'll hear many well known melodies, even played on rock organs, drums making tempo, voice giving it life itself.

Four stars for this marriage of classical sounds with rock.

Little more than an extended jam session starring Alan Park's Hammonds and Ricky Gardiner's guitars, this debut album bridges the gap between late 60s heavy psych and the burgeoning keyboard oriented trio configuration. I would not be surprised to find that this album was hastily assembled and recorded, but in any case it sounds that way. Classical riffs chug incessantly occasionally punctuated by stoned vocals, with no hint as to the compositional and arranging prowess that would rise to the fore on their very next album. The pace is rarely below break neck, as if the rush to end is on, the pleasure of the journey forsaken.

I'm dubious as to how fresh this sounded on release but it certainly shows its age now. There is a general lack of conviction and a total lack of restraint and/or finesse. Any individual passage might sound fine in a proper setting, but that's another area where Beggars' Opera seems lacking. If pressed to pick a highlight, I choose the frontier abandon of "Light Cavalry", where at least the mood suits the historical themes.

If you want to hear how a similar sound could be parlayed into a real piece, even more miraculously given its live setting, have a listen to "Where is this Dream of Your Youth" off STRAWBS' "Antiques and Curios" album. But I'm sure there are dozens of examples you could pick that are comparably superior and more tasteful.

I'm teetering on the brink of an operatic death by consumption on this one, but have to beg off before I can fairly make up my mind, so 1.6 stars it is.

Pass me a valium, I need to calm down. Scottish Proggers Beggars Opera never repeated themselves from album to album. They started out strong, but gradually lessened their impact as the 70's rolled on. This debut release of theirs, 'Act One', features a fine blend of hard- rocking, psychedelic and classically inspired music. Fans of the Rod Evans line-up of DEEP PURPLE as well as THE NICE (featuring Keith Emerson) should look into this album. Heavy with keyboardist Alan Park's virtuosic Hammond organ chops and a Blackmore-esque flavour with Ricky Gardiner's searing lead-guitar runs, this is a sure treat for many prog-heads. The rhythm section of Ray Wilson and Marshall Erskine (drums and bass respectively) are quite able and energetic too. Lead vocalist Martin Griffiths has a fine voice and delivery but it hasn't aged very well, actually, this album hasn't aged very well but it still delivers some superb musical arrangements ; only 1 song clocks in under 4 minutes, 2 tracks around the 7 minute mark, and 2 tracks on side two almost 12 minutes long each. Right from the get-go this is clearly a proto-prog adventure, and one of the finest. 'Poet and the Peasant' sets the album off in a big way with those classical organ lines and Griffiths' vocals - the instrumental passage is reminiscent of Deep Purple's Mandrake Root (live versions anyway, to draw a similar comparison). 'Passacaglia' offers some great melodies and a cool guitar work-out in the middle. The organ and bass work really well together, creating fugue- like complexities. One of my personal faves from this band. 'Memory' is the shorter tune here and very catchy with an 'underground' vibe and bluesy riff - the wah-wah organ is quite psychey. It does tackle some intricate territories to make it a bit more substantial. Finishing off side one is me staring into the Vertigo swirl label which looks like some sort of void with a cone in the middle....... Emersonian organ crashing and pitch-bending kicks off 'Raymonds Road', an extended, jammy instrumental featuring many classical licks from Bach to Sibelius, Rossini to Greig, along with some abrasive guitar soloing. The bass-line is reminiscent of The Nice's 'Rondo'. And on it goes. 'Light Cavalry' leans towards the psychedelic with a colourful wah-wah organ section. More classical riffs along the way. So, nothing too revolutionary nor original, but definately a near-masterpiece in my ears. 4 stars.

Do you like classical music? Listen to the real thing.

The first album of Scottish band Beggar's Opera, released in 1970, is one of many attempts, typical of that period, of mixing rock and classical music. "Act One" contains all the exaggerations typical of baroque rock. References to classical music are continuous, even more than in other bands known for the same approach to music, such as Nice, Procol Harum or ELP. We can find in this record classical themes by Rossini (William Tell), Grieg (Peer Gynt), Mozart (Eine Kleine Nachtmusik), Sibelius (Karelia Suite) etc. In addition, all the interpretations of these masterworks are played coldly, performed without any passion, apparently for the sole purpose of following the trends of those years, following the path opened by the Nice.

Apart from the fun of finding the classical references, there is little else, really. The best track is the brief Memory where at least the constant references to classical music are temporarily abandoned for the sake of melody . The solo parts are almost always handled by the organ of Alan Park (the organ is virtually omnipresent ... and ultimately boring) and the short vocal parts do not excite me.

As mentioned above, the music is also very influenced by Nice. Raymond Road seems a continuation of "Rondo": the rhythm is virtually identical. This song including also "Intermezzo From Karelia Suite", already recorded by Nice in "Ars Longa Vita Brevis".

Heard today, "Act One" is a hard aged badly. If you are not a fan of the band, avoid it. Rating: 2/10.

2 stars.

Best song: Memory

Ricky Gardiner lays down some mean Hendrix-inspired solos here and there on this debut album, but the show is well and truly stolen by organist Alan Park. Indeed, most of the compositions here simply involve the rhythm section playing at a frantic pace and Park playing his guts out, referencing as many different well-known classical anthems as possible whilst Ricky dives in with his guitar work here and there to spice things up. I wouldn't call this a top- rank album because its compositions are a bit *too* dependent on that schtick - sooner or later listening to the album becomes an exercising in spotting the classical quotations rather than actually enjoying the music - but it's a good enough first effort.

My Brother bought this Album for me for my Christmas in 1975 and I have loved it ever since. It is a shame they did not have more recognition in this country (Scotland). They were more succesful in Europe. I have three other Albums, Pathfinder, Get Your Dog Off Me and Waters of Change. Although the content and line up have changed as they went along I still think they deserved more success. The albums have been released on CD and they are very popular. Original Vinyls are being sold for '40+ I love them all. This Album is IMO their best and is as enjoyable today as it was 38 years ago.

The debut release from Scottish outfit Beggar's Opera, 'Act One' mines a distinctly neo-classical vein, offering up a familiar brand of symphonic progressive rock that comes complete with modern baroque rock interpretations of Franz Von Suppe both opening and closing the album. Issued in 1970 on the Vertigo imprint, original copies of 'Act One' are now actually quite sought after, the album's less-than-spectacular commercial performance rendering it quite rare. Now, however, and thanks to German reissue label Repertoire Records, the colourful discography of Beggar's Opera is readily available in classy mini-vinyl replica editions, granting a pair of interesting albums from the group's early days a timely revaluation. The first of these, their debut 'Act One', is pure symphonic grandstanding, a fast-paced fusion of rock and classical ingredients taken right from the the ELP school of progressive rock. The second, however, showcased just what Beggars Opera were about. Gone was the overt classical influence; in came guitars and sharper, shorter tracks for 1972's enjoyable 'Pathfinder'. Completely different from each other, 'Act One' and 'Pathfinder' both defined and illuminated the other, exhibiting two very different sides to the same collective. 'Act One', with its strings, fast-paced instrumental sojourns and almost reckless abandon, proved the more expansive of the pair, an album coated in musical ambition. 'Pathfinder', however, was far more accessible, a genuine rock album and arguably the group's most cohesive overall effort. For anyone interested in taking a closer look, both 'Pathfinder' and 'Act one' - in that order - represent Beggar's Opera at their very best. Later albums, although still resolutely offbeat, failed to scale the same lofty heights of curiosity engendered by the continued and highly-varied work of founding member / leader Ricky Gardiner, and it should also be noted that throughout two incarnations the beggar's Opera name has continued to write, record and release music well into the 21st century. Neither album is a masterpiece, though both feature some excellent moments; 'Act One', which features Martin Griffiths(vocals), Alan Park(keyboards), Ricky Gardiner(guitar), Marshall Erskine(bass) and Ray Wilson(drums), is definitely the more ambitious of the two; fans of ELP, Refugee, The Nice etc should all find something here. STEFAN TURNER, STOKE NEWINGTON, 2012

Beggar's Opera was an obscure Scottish prog rock act, that managed to stay under most's radar back in the day. Their debut album shows strong classical aspirations in conjunction with heavy psychedelic rock and a bit of jazz influences, all sounding very intelectual. Alan Park, the classically-trained keyboardist is on fire here! His playing can closely be compared to that of Keith Emerson, Jon Lord or Dave Stewart on Egg's debut album. Ricky Gardiner's playing is something rare in progressive rock. It can vary from wild, Hendrix-esque riffs to something we can imagine as a guitarist treating his instrument like a philharmonic musician treating his violin or cello. All in all, a very versatile solo section. All supported by an incredible rhythm section that can go from pumping to light jazzy touches. In Beggar's Opera every instrument works like a Swiss watch - very accurate and rather pleasing. The key track and a highlight of this album is "Raymond's Road" - a compilation of well-known classical compositions like "Turkish March", "Karelia Suite", "Fugue in D-minor" and some more. All this based on a fast rhythm, reminiscent of "Sabre Dance" by Khachaturian. This best showcases fantastic musicianship of Beggar's Opera. Other tracks are also very classical-based, perhaps with more jazz influence and phenomenal British sense of humor.

Beggar's Opera "Act One" will make a great album for all fans of old progressive rock and classical music. This is an especially important album, which shows the face of early prog. A true gem!

BEGGARS OPERA are a Scottish Symphonic Prog band who've been around seemingly forever, or at least since the beginning of the prog era anyway. They formed in Glasgow in 1969 and released their first aptly-titled "Act One" album in 1970. They followed it up with five more albums in the proggy 1970's years:- "Waters of Change" (1971); "Pathfinder" (1972); "Get Your Dog Off Me" (1973); "Sagittary" (1974); & "Beggars Can't Be Choosers" (1975). They made a brief comeback in 1980 with the "Lifeline" album and then took a VERY long hiatus before returning with the "Close To My Heart" album in 2007. Their most recent album "Mrs. Caligari's Daughter" was released in 2012. Altogether, Beggars Opera have recorded fourteen studio albums throughout their long lifetime, although they've never quite made it to the "big league" despite their undoubted musical talent. The "Act One" album, reviewed here, was reissued on CD in 1997 with two bonus tracks added to the original five songs on the album. Let's have a listen to the album now and find out if beggars really CAN be choosers.

Opening the curtain on "Act One" comes "Poet and Peasant", a fast and furious fugue of supersonic Emersonian organ virtuosity. This booming and bombastic Baroque piece is very loosely based on the music of the obscure Austrian composer of light operas, Franz von Suppe. Light opera has NEVER sounded quite like this though. This is a wild and dynamic organ jamboree where traditional Classical music is thrown completely on its head and given a healthy burst of pompous and powerful Prog-Rock, in true "Roll Over Beethoven" fashion. The wonderfully expressive singer sounds like he's having a great time too with some magnificently over-the-top operatic vocals, in the style of David Byron of Uriah Heep. Hold on tight now because entering stage right is "Passaglia". Can you handle it as this is George Frideric Handel played as you've never heard him played before. Again, the keyboard player is going hell for leather on the Hammond organ with no let-up in the incredible pace. There's also a flambuoyant flourish of funky guitar in an exhilarating extended solo in the middle section. This powerfully percussive piece has all the unstoppable power and explosive energy of an Exocet missile, with you the listener as the target. The next song "Memory" is another rapid-fire machine gun delivery of sound with the dynamic duo of Hammond organist and wild guitar player battling it out together while the drummer pounds away relentlessly on percussion. Apparently, when Beggars Opera acted as the support band for the Tremeloes way back in 1970, they blew the Tremeloes off the stage, and it's easy to see why when you listen to this energetic high-voltage album. This explosive music has all the flash and thunder brilliance of a boxful of fireworks that's been accidentally set alight.

Side Two is occupied by two 12-minute-long suites. There's more manic musical mayhem with "Raymond's Road". It's a soaring and symphonic sonic blast of incredible intensity with the amplifiers turned all the way up to eleven. Is it Bach or is it Mozart? One thing's for sure, you've never heard Classical music played quite like this before. You may not have heard Symphonic Prog played quite like this before either. This is no Moonlight Sonata. This is more like Widor's Toccata on anabolic steroids. It's an adrenalin rush of rip-roaring organ-powered Rock and there's even a riotous rendition of the William Tell Overture thrown in for good measure too. Rossini would be rocking and rolling in his grave to this music. The breathtaking speed of the high-energy Hammond organist on this album is just phenomenal. You really have to hear it to believe it. We're charging ahead next with "Light Cavalry" and this cavalry aren't stopping for anyone. The band of musical brothers are charging ahead with all guns blazing in a storming symphony of sound. The music gallops along relentlessly at incredible pace in this canorous cavalcade. It's time to dismount now though as we've finally reached the end of the album. Phew! That was a blast!

It's Bach to the Future for this dynamic, classically-inspired blast of powerful Symphonic Prog. It's an album to put on your Chopin Liszt the next time you head Orff into town on Debussy, although you may have to Handel disappointment and come Bach empty-handed, as it's a case of Haydn seek with finding this rare album treasure in the record stores these days.

20-Year Chronological Run-Through pt. Eight: 1970.

This British band, founded in Glasgow in 1969, took its name from a Baroque play of John Gay. Stylistically the quintet followed the path of The Nice. Debut album Act One emphasizes on the Emerson-like organ work of Alan Park, as well as on the heavy borrowing from classical music.

Perhaps this feature helped to hide the fact that there were no strong songwriters in the band at that point. 'Poet and Peasant' is derived from an operetta overture by Franz von Suppe. Especially Raymond Wilson on drums is very good, but Martin Griffiths' vocals go a bit over the top with a heavy use of vibrato. 'Passacaglia' and 'Memory' are original compositions that carry on the same energetic style.

'Raymond's Road' is a tiresome 12-minute potpourri featuring references to several art music pieces, as if it was asking how many of them are recognized by the listener. In addition to The Nice, Beggars Opera were certainly familiar with Love Sculpture's rock version of Khatchaturian's Sabre Dance. Equally long 'Light Cavalry' is the album's second dive into Suppe's operetta world, but also IMHO its most succesful piece as it combines both borrowed and own ideas.

Act One may be considered a noteworthy classical music inspired prog debut, but I prefer their next two albums. 2,5 stars rounded down on a subjective basis.

Named after the famous ballad opera in three acts written in 1728 by John Gay with music from Johann Christoph Pepusch, the Glasgow, Scotland based BEGGARS OPERA were one of the immediate successors of 1960s The Nice and the Mark I lineup of Deep Purple who were perhaps the most successful bands to popularize the so-called rockin' with the classics sound. This band was formed in 1969 by guitarist Ricky Gardiner, vocalist Marin Griffiths and bassist Marshal Erskine who resonated with the classical music inspirations interpreted into a rock context that Keith Emerson had brought to fame with his first band The Nice before departing and starting the even more audacious Emerson, Lake and Palmer.

With the addition of Raymond Wilson (drums) and Alan Park (organ, piano), BEGGARS OPERA adopted the visionary classically inspired hard rock sounds that both The Nice and Deep Purple had abandoned in order to take things to the next level, however BEGGARS OPERA infused the style with a breadth of creativity which immediately found a bit of success starting with its debut album ACT ONE which was released in late 1970 after scoring a record deal with Vertigo Records. As evidenced by the flamboyant regalia that graced the album cover, BEGGARS OPERA unleashed a plethora of passion on its debut with an invigorated zeal for adapting classical music to a rock context.

One of the bands that gives a true context in how the term symphonic prog came into existence, the five tracks on ACT ONE showcased complex arrangements that featured heavy rock riffing with the focus on the classical melodic heft of the Hammond organ, piano and heavy doses of mellotron. The classical adaptations stand out immediately as "Poet And Peasant" presents a creative interpretation of Franz von Suppé followed by an equally compelling Handel second coming in the form of "Passacaglia." The band was noted for its heavy driving grooves, Hendrix-inspired guitar gymnastics and most of all classically infused keyboard virtuosity very much in the vein of Keith Emerson in The Nice only BEGGARS OPERA took it all to the next level shortly after Emerson called it a day and went on to form ELP.

Released in November 1970, ACT ONE came out when progressive rock was just getting warmed up for the staggering complexities that emerged from 1971-75 and already showcased long suites in the form of "Raymond's Road" and "Light Cavalry" which both just missed the 12-minute mark, a trait that hadn't really caught on in the mainstream of the progressive rock paradigm quite yet. While The Nice and early Deep Purple had successfully introduced such rockin' the classics sounds to the evolving rock music paradigm, it seems it was BEGGARS OPERA who finally stepped in and made it interesting with creative compositional fortitude that offered a more balanced band approach without sacrificing the dramatic flair of the keyboard wizardry that made this style of symphonic prog so exhilarating. In other words, BEGGARS OPERA successfully married the classical sophistication of the keyboard melodies with the energetic heft of hard rock which included not only excellent guitar performances but a heavy driving bass / drum rhythmic drive.

While mostly relying on instrumental virtuosity as the main driving force, the album is pleasantly lifted to a higher level by the competent vocal style of Martin Griffiths who sounded a lot like David Bryon of Uriah Heep. Most of al it's the compositional fortitude of BEGGARS OPERA that takes them to the next level beyond the obvious influences and even though the keyboard sounds are dated, an attribute which makes some of the music of this era sound a little hollow, this team of music maestros were so intimately in tune with the varying dynamics, tones and tempos that they pulled it off by crafting an album that while dated in terms of technology comes off as a more timeless album in terms of composition. While ACT ONE usually gets overlooked in favor of the band's following "Waters Of Change" and "Pathfinder," this debut is not to be missed as it single-handedly revived the rockin' with the classics sounds of the late 60s only made it all interesting enough for return visits.

This is an absolutely mind blowing album. The more I listen to it, the more I like it. In my opinion, the predominance of drums give it a lifely rhythm which keeps the songs from becoming boring. And even though there's a couple of songs that you could say to be the same, they quickly change to have their own sound. Lastly I'd love to add that I really enjoy the addition of classical music modified to be prog rock. I just can't stop listening to their light cavalry.

Overall, I really enjoy this album as I like every single song. Also, it is capable of giving me a full 50 minutes of awesome music.

1. Poet and Pesant and the sound of... yes this classic piece of the same name by the composer SUPPE; even MALMSTEEN took it up later, normal for a neo-classical guitar hero; brief guitars from the 60s from the time of the Anglican bandits, a piece which gives pride of place to the organ 2. Passacaglia organ of the time, yes in France it was ANGE with Francis who started using it; good-natured pop rock tune, with Alan's rhythmic melodic ballad; the classic melody evident behind it; like a cavalcade break that moves seriously, like a heavy riff that Jimi HENDRIX would have released; the piece in search of sound; a bit of 'Sarabande' later put on the 97 CD. The reminiscences of The NICE are obvious here 3. Memory for the radio edit before its time, a sound on the WHO which will come later; very short with a guitar solo that deserved better!

4. Raymond's Road and the 2nd side which starts with a very famous classic tune; a piece of more than 10 minutes which looks at DEEP PURPLE, well which of the egg and the chicken, which had started? The most important thing is to remember that this album dates from 1970 and that it already had all the progressive markers within it; the rise, the crescendo, BACH in disorder as its obvious; back when we were talking about the MOODY BLUES and their fusion with classical instrumentation to create a progressive sound; it goes up, yes we chat and we would forget the organ solo on the machine-gun drums which never stop hitting in all directions; EMERSON, here GRIEG you want some here, and the bald mountain go ahead don't hold back; it's going up we said and we ask ourselves the question of why this album was not praised? Maybe too pumped on these classics, that's one answer! In the meantime the motorcycle is leaving, yes finished 5. Light Cavalry for the variation, the ramblings of Alan on the different keyboards, who will look to BACH and colleagues for a remarkable ride; this intro is remarkable and would almost extinguish Martin's verse; well already an orchestral break with shattering drums, ah how beautiful it was, the return of the verse, the Griegian finale and yes well done, but probably too predictable and not enough sounds of their own, in short a beautiful album which despite its age n Has hardly aged at all.