RAMSES

I was reading recently that, whereas clothing, hair and even musical fashions shifted dramatically during the period from the 1960s to 1990s, in the last 20 years the amplitude of those shifts has narrowed, to the point where a picture of people from 2003 might not reveal a lot of clues around when it was taken. While I cannot deign to speak for any of these trends among the younger musicians, it seems like no time passed between Germany's RAMSES' 2001 and 2014 studio albums. Even the lineup is almost identical.

I suppose in this prog sprinkled concoction of hard rockers and ballads alluding to their keyboard laden past, a few extra pounds are coaxed onto the scale, and if I had to pick one over the other, "Firewall" would probably win, being more compelling more often, even if once again some of the excess baggage takes the form of live and alternate versions and yet another brief appearance of their original vocalist who presumably was middle aged even back then? I have this idea that maybe a live album even from the 1970s would be somehow more satisfying than these non bonus tracks.

Regardless, the album breaks any shackles right away with the menacing "Welcome to the Show", one of several that throws shadows back to the 1980s - think "Twilight Zone" by GOLDEN EARRING or "Jeopardy" by GREG KIHN BAND, along with more recent outings by fellow German's ANYONE's DAUGHTER" but more satisfying. It establishes the focus on melodic at times rhythm-heavy rock with fat key and guitar solos that don't really move the goalposts but lay out the band's confidence as instrumentalists. "Save the World" is every bit as powerful and impactful, with a wonderful reappearing synth riff that pays homage to their younger selves as well as their contemporaries at that time.

Other high points are the title track and the relatively sprawling "Straw that Broke the Camel's Back", with more hooks than a wardrobe stylist's closet and a blistering lead guitar solo. A lesser known instrumental originally on "Light Fantastic" (1981) is reprised with a slightly different name ("Back to the Glades") and is fine but, like the Xmas song and the aforementioned added tracks, doesn't really bolster the end product.

While "Firewall" doesn't block out or hide its affiliation with AOR and its ilk, it resumes this long lived collective's grasp of a credible style for our times that might even tickle a few of the less hardened among us.

I've always had a soft spot for this Hanover cooperative, even though I can't consider any of their outings to be exceptional in any way. Maybe it's their late to the party misfortune in the 1970s that inspires kinship, their geographical and stylistic similarities to early ELOY, or the endearing artlessness of their lyrics even when compared to ahem Eloy. No, I don't think it's any of those reasons, as twistedly compelling as they may be. Instead, I think it's where they went after their 70 minutes in the 70's sun, and their perseverance in materializing oh, say, every decade and a half since then, in a mutated yet paradoxically recognizable form to offer us a mixed platter and encouraging us to focus on the positive.

1981's "Light Fantastic" was generally lambasted from all sides but yet did reunite most of the original lineup for a credible go at modernizing their formula. Sure it was uneven as one could have predicted, but it shone often enough to illuminate a dire period for bands of this ilk. 20 years later, with shockingly small turnover in personnel, and the promotion of drummer Reinhard Schroter to lead vocalist and keyboardist, they have returned with "Control Me", which retains something of the synth pop aspects of its predecessor in exploring themes that were already dated by this time - alienation, planetary calamities, human tragedies and the like - while remaining relevant even today. Musically as well, this is a more serious Ramses, with a perhaps intentionally controlled sound propelled by repetitive rhythms, clipped keyboard and guitar solos that are more like fills, albeit tasty and technically proficient. This concision will drive some to distraction but it's actually a strength more often than not on "Control Me". The simplistic riff on "World of Dreams", the chilling "Rule the Globe" and the Lady Di tribute "Blues of a Nation" showcase the band's versatility in this format, but it's on the centerpieces, the ELOY-like "Wonderland" and the emotional "Time to Go" (with superb performance by Shroter), also the longest tracks, that the band renews its prog registration, small c crossover style. Hey we are an inclusive lot. The last few numbers are much weaker, with the exception of the sweet pop ditty "Surrender", one of the bonus tracks. But really, did we need to hear yet another version of their "classic" "War", this time in live form?

Need I say that this probably didn't even appear on their mothers' top albums of 2000, but I've also heard much worse. The music world with Ramses isn't appreciably different than the world without them, but for some reason I'm a lot happier knowing they are here.

I've owned La Leyla for years, the American pressing on Annuit Coeptis, with "Noise" instead of "War" (same song, different lyrics, as the American label did want a song critical of the Vietnam War, still too fresh in American minds in '76). I have to say it has some great moments, but a couple of repetitive songs like "Garden" and "Someone Like You" that could have stood a bit more creativity. Of course, I knew that Ramses wasn't going to be the most mindblowing band out there. Eloy certainly had a lot more edge to what they were doing.

Eternity Rise actually seemed to manage making less repetitive material, but none of it reaches the heights of La Leyla, at least nothing offensive here. It seems the Moody Blues and Barclay James Harvest influence really makes itself known on two of the songs. "City Life" is in the BJH and Moodies vein, while "Windy" is more Moodies than anything (all was needed here was a Mellotron, which Winfried Langhorst did own one, but didn't use it much on this album, and not at all on this song). The album features nice material like "Only Yesterday" and "Agitation Play", and "Windy" is a great song, as mentioned. That Moodies influence is simply undeniable there. Much of the rest of the album is German prog as usual: influenced by local (that is, Hannover) contemporaries like Eloy and Jane, as well as other German bands like Grobschnitt and Novalis. This is the type of music you expect off the Sky label: the stuff not mindblowing enough to make it on Brain seemed to be order of the day, at least Ramses is still very good, but not without its flaws. At least it's quite a bit better than that pretty dreadful Light Fantastic, the followup that appeared in 1981. Many of you will probably already know this album if you bought the CD reissue of La Leyla, because it included this album as well. but I went the vinyl route so I only got Eternity Rise now (July 2017), while I owned La Leyla since September 2000. It's probably because the band was not priority number one why I didn't buy Eternity Rise ,much earlier (and me being a bit suspicious of prog released 1978 or after given how the quality really slipped). Glad I bought it, it has nice material, and worth having for fans of late '70s German prog.

I never thought of Ramses as the most minblowing band out there, but I do very much enjoy their first two albums, La Leyla and Eternity Rise, demonstrating that you can still make decent prog in the late '70s. Eloy proved great prog can still be had in the early '80s with Colours, Planets, and Time to Turn. I only wish I could say the same for Ramses, since 1981's Light Fantastic is like too many other '70s prog bands who couldn't really seem to make the transition into the new decade. With another great sci-fi cover, looks like the same artist who graced their previous two albums, it looks like it's up there with their previous two, sadly that's not the case. This album finds them recording largely more pop-oriented material. Some stuff like "Transport of Joy" really push me over the edge. That one is pretty insipid. "Carry On" starts off nicely, but then the chorus and synth kicks in, and it's pretty cheesy. "Force of Habit" and "Earth into the Dark" aren't bad, and "Across the Everglades" is a pretty nice instrumental, a bit in the Alan Parsons Project vein. Of course, if you own the CD reissue, you notice that "Noise" is considerably better. This song was included on the American release of La Leyla, which was basically "War" with lyrics changed to addressing noise pollution and environmental destruction. Apparently their American label Annuit Coeptis didn't feel comfortable about a song addressing the Vietnam War, which was still too fresh in American minds in '76 so the band was forced to record a new version of the song. Light Fantastic is like too much I've heard from the early '80s. Stick with their first two albums and give this a pass.

I ran into this band by accident, had never heard of it. I'm totally unfamiliar with their previous older work. So i did not know what to expect from their latest album "Firewall". First of all: i don't agree with the 'Crossover Prog' style they have been labelled with. In my humble opinion this is a more Heavy Prog/Hard Rock style with symphonic elements. In general i think there are not much progressive influences in the music. Most songs have a modernised hard rock feeling. They are not composed very complicated, but there is a nice airy feeling, enhanced by the beautiful guitar and strong keyboard play. Especially the guitar play lifts the music to another level.

The first song, Welcome to the Show, kicks in wit a heavy rythm and soon Reinhard Schröter picks up the vocals with a voice that sounds as a polished version of RAY WILSON. When the guitar and the keyboards join in, thbe music really grabs me. Save the World takes over with the same nice hard rock edge.

Then there is a love ballad-ish song, Love in Vain. This one doesn't stand out for me. Into the Moments, All This Time, Firewall and Virgin Zone all go into the direction of a poprock song, sounds very nice buyt nothing special though. Thirst in my Heart starts with a short chorus. This is a more relaxed song with a saxophone playing halfway.

The Straw That Broke the Camel's Back is a nice song wih beautyful mood changes. Then comes my favourite track of the album: the live version of Look at Your Neighbour. With almost seven minutes the longest track and it is enjoyable every minute of it. Ramses lets us hear that they can play live as tight and vibrant as in the recording studio. The guitar and keybords really stand out here. Not complicated, straightforward and very very good. After three minutes a wonderful guitar solo starts off. With my eyes closed i can even imagine that i am listening to an early number of URIAH HEEP. Nice!

The X-Mas Song sounds as mellow as the title suggests. The next song, Back to the Glades, again really stands out. It is all instrumental and has a pretty space rock sound.

Thre last song is a 'soft version' of Look at Your Neighbour. Here the vocals are from Herbert Natho, the original vocalist from the seventies. My suggestion would be to skip that song. I am not familiar with his performances in the past, but his voice does not fit the rest of the album.

Overall i would say that Ramses has made a nice flowing album with two strong tracks to start with: Welcome to the Show and Save the World. Then the music becomes more into the direction of poprock. That all changes with The Straw That Broke the Camel's Back and the live version of Look at Your Neighbour. It would have been better to drop The X-Mas Song and the short version of Look at Your Neighbour. Then the cd could have ended strong with first the instrumental Back to the Glades, followed by the live Look at Your Neighbour. 3,5 stars from me, rounded up to four because i really enjoyed te better tracks.

Hannover-based Kraut Rock band, originally named Ramses II and found in 1972 by Hans-Jürgen Lammers (drums), Peter Klages (guitar), Bernd Probst (keyboards), Hans-Dieter Klinkhammer (bass) and Herbert Natho (vocals).The early years were characterized by several line-up changes, relulting to style's inconsistency, until brothers Norbert Langhorst (guitars) and Winfried Langhorst (keyboards, vocals) entered the picture in 1973.They were followed the next year by drummer Reinhard Schröter, who replaced former member Claus Arve.Along with Arve gone was also founding guitarist Peter Klages.Ramses were discovered by Günter Körber of the legendary Brain label, who signed the group to his independent label Sky.The debut of the band ''La Leyla'' was recorded at Conny Plank's Tonstudio in September/October 1975, produced by Jane's Klaus Hess and finally released in 1976.

Ramses re-invented the ELOY sound of the 1973-75 period, creating a grandiose, heavy-sounding and attacking Heavy/Kraut Rock mixed with some delicate symphonic textures with loads of keyboard workouts.Their style, while very far from being original, was remendously atmospheric and emphatic, characterized by strong and powerful grooves of a hypnotic approach full of organs and deep bass lines, along with ELOY's spacey textures with soaring synthesizers, laid-back guitars and mellow singing lines, while a pair of pieces are highlighted by the use of Mellotron flutes.The decent length of the tracks allowed the band to mix these styles with intelligence, but their music contained also lots of Symphonic Rock vibes, a bit like CAMEL's melodic material, although much more energetic.All tracks contain plenty of breaks and shifting moods, ranging from heavy organ/guitar passages to smooth and dreamy interludes of an instrumental variety.A couple of tracks even contain British-styled proggy influences, especially on the more harmonic moments, akin to CRESSIDA or FANTASY.

Very good debut indeed and definitely a must-have for all die-hard of the classic ELOY sound.Powerful, groovy but also demanding Progressive/Kraut Rock of great quality.Strongly recommended...3.5 stars.

Par.

After being a famous King of Egypt, an international preservative company, Ramses is also an obscure progressive band that is not ashamed of ripping off Nursery Cryme, Journey to the Center of the Eye and Moonmadness. Have your attorney ready!

The main problem is not the music: it goes from okay to good. Good flutes, very good Nektar guitar and Hackett solos, good variety of vintage synths.

The main problem is the lyrics. What?!? You heard me, I don't know who wrote this prose, but it's not higher than redneck poetry. Priceless lines like: 'You're much too young for me, babe...', 'Walking in a garden with only plastic dreams...', 'Don't listen to the devil inside, and you'll do what's right...be good and people will be good to you..'. You just can't find this stuff anymore.

Apart from the large amount of laughter the lyrics can cause, it's still average music and could please the collector.

It's really strange that this band isn't as famous as other giants of 70' progressive rock. I suppose their biggest problem was lack of "momentum". In 1976 progressive rock music started to significantly lose it's popularity in favor of punk rock, disco and other horrible creatures of late 70' music scene... If "Ramses" started his career few years earlier, now they would be equally famous as other German prog bands like Eloy or Jane and maybe even as popular as Yes or Genesis...who knows?

Anyway let's start the review of their debut - and IMHO - their best record ever. Lots of people unjustified compare them to early British art rock bands which based their music solely on Hammond organ sound. As far as I really love this early 70' British staff, I have to assure you that "Ramses" doesn't sound like them at all. Their music is much different, they offer richer sound with very good analog synths/mellotron arrangements and very important guitar presence (very similar to Frank Bornemann from "Eloy", lots of atmospheric leads and solos without even small sign of show-off).

1."Devil Inside" - very good opener. Very beautiful melodies played by guitarist in a bit sleepy mood are swimming in interesting synthesizer flights and soft mellotron waves. The vocal parts are also very good and atmospheric. No signs of typical "German" accent. I'd never guess that it's German band at all!

2."La Leyla" - this song begin with fantastic, 3 minutes guitar soloing (sounds like 2 electric guitars in the same time) based on rich keyboards (organ & Solina string ensemble) background. In fact keyboards aren't so much "background" in this fragment, it's more like crazy race or even battle between two instrumentalists! Splendid beginning. After 3 minutes music slows down, some flute tunes are presented (mellotron?) and Herbert Natho starts to sing in a very "moody", somehow "romantic" way with slightly falsetto choir in the background. In the second part of this composition Winfried Langhorst shows as also very good, melancholic Hammond organ solo.

3."Garden" - without any long intros (like in previous songs) "Garden" begin straight-to-the- point from Natho's vocal lines. This melancholic mid-tempo ballad which tell as a story about somebody's dream is really good and "catchy" (in a good sense of this word of course!). Your head will surely wave along with Langhorst's melodic synths. In the middle of the song another soft organ solo.

4."War" - the fastest, most dynamic composition with epic feeling (but in fact only 6:30 minutes long). Really memorable organ-guitar riff in the beginning doesn't leave any doubts that it will be very special moment of this album. I like the parts when music almost completely stops and vocalist sing his anti-war (but not in this he hippy-preaching style which I can't stand at all...) lyrics with only bass and drums sleepy background, than suddenly music starts again with all of its power. Refrain "War, everywhere, everywhere look around me" sing on the crunching Hammond's and guitar's riff can really make good impression on every rock lover. I also adore middle part of guitar/organ staccato (bridge? solos?) with very loud noises of exploding bombs and gun shots. Goose bumps!

5."Someone Like You" - the longest song of this record starts from very atmospheric synths and flute sounds which remind me mid 70' Eloy's music. Then electric guitar enters and together with organ waves leads very pretty, melancholic, yet a bit depressing song about somebody who's "too old" for love ("Better Leave me alone You're much too young for someone like me"). Sounds melodramatic and corny? Not when it's played by Ramses! I really dig this mostly slow-tempo track with it's sad lyrics, melancholic voice and almost crying "aaaaa" choir (a bit in the vain of Uriah Heep. And it's the only moment I can think about UH when I listen to this band. Really). As always middle part with beautiful synthesized string, mellotron sampled flute and atmospheric guitar is great.

6."American Dream" - this one seems to be the weakest track. However it also has it's moment. Pretty organ intro and outro, some Solina strings waves sounds good as always. The only problem is that vocal part isn't so interesting as in the previous tracks and it can sometimes drag a little.

To summarize I can say it's a real classic and probably the best German prog-rock album from the second part of seventies. I recommend it especially to symphonic rock lovers who listen to Yes and Genesis but aren't afraid of well arranged but not so long songs. For young progheads which grew on technical prog-metal this album maybe has to slow & melancholic pace to interested, them but I hope they will also find this record intriguing. Full blown, highly melodic symphonic prog rock full of good guitar and vintage keyboards sounds! It can deserves only 5 starts. Not less.

P.S. Their next album "Eternity Rise" is also very good and worth checking. Only melodies aren't so infectious this time.

"Eternity Rise" marks a slight improvement in Ramses' songwriting and arranging. The melodies are still strong, but a little less rudimentary than on "La Leyla", and a greater emphasis is placed on other keyboards, including mellotron and/or string synth.

This change is felt from the very opener "City Life". Although the theme is relatively simple, the message is effectively executed in keeping with the back to the land philosophy of 1970 (you will recall that Ramses tended to latch on to fads after the fact). Other strong tracks are "Time", with an excellent beginning; "Windy", which shows the group embracing a more acoustic backing for the moment; and of course the 10+ minutes title cut featuring most of what makes Ramses interesting, and a superb finale including martial drums and, of course, marvelous organ sounds.

While this sophomore effort shows a rise in quality, we're just dealing with a marginally superior 3 star effort, and certainly not an album to take beyond the grave.

Ramses' debut album borrows a great deal from classic early 1970s groups like IRON BUTTERFLY, DEEP PURPLE and URIAH HEEP in their liberal use of organ and hard rock and bluesy styles, but this is tempered with a German symphonic influence a la ELOY, so the result is pretty high on the listenability index, even if the lyrics are generally low on the poetic index.

Because this sounds older than it is, I am not surprised to hear anti-war sentiments in "War". But the song simply lacks an original approach and its "hook" is unconvincing. The best tracks here are the longest ones, the title cut and "Someone Like You" for their more developed song structure and space for expansion on guitar as well as keys. An additional plus is that the English vocals are very competent, though the audibility of the lyrics was perhaps ill conceived given their rudimentary nature. But even musically, little on this album has much "wow" factor, as well played as it generally is.

If you enjoy organ dominated small p progressive rock, this one is worth picking up. Just be prepared for its decidedly retro sound, even for 1976.