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"...

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!

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!!

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.

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!

"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 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.

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.

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.

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!

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.