1000 Prog Albums Over 46 Years: 1966-2011

A review by Finnforest:

1966's declaration of independence

"I think your life is incomplete"

I have a real thing for debut albums from this period. While many people describe Freak Out, Piper at the Gates, and Velvet Underground in terms of being "promising" and building for better things later, these early works are as exciting as later classics but in their own way. It's hard to imagine what people thought upon hearing something like "Freak Out" in 1966 and I try to put myself in that time frame when listening to early albums. While some continue to insist that Crimson created prog in 1969 it's my opinion that these earlier works are the true conception even if some want to write them off as "just psychedelia" or whatever. Many styles and influences are fused here in a work which screams at the public that it wishes to offend, it wishes to foul the water, to avenge Frank's incarceration, and to wear the badge of "outsider" with pride. But not just a rebel without a clue, Frank had it in for many of those who thought he was one of them, creatively and socially. He demanded authenticity and quality, he lectured his fans to forget about the Prom and go to the library, and he scolded them for their drug use, which didn't exactly endear him to his peers.

It is impossible to avoid discussing the political and social aspects of what the album's lyrics throw in one's face, so skip this paragraph if not interested in my personal opinion. No one's personal comfort zone and no institution's presumed honor would be spared over Frank's career. Years later Zappa would describe himself as "a conservative" (though certainly not in Republican terms, whom he hated, but by his own definition) and later still in one of his last interviews as "unrepentant" in his views. He was a true independent, whose blast against the establishment would not stop with the fashionable railing against government entities or right-wing easy targets, but extend to the counterculture scene and the Lefties whose dough-eyed vision of reality he would skewer on "We're only in it for the Money." Zappa's work would help progress the good things about the counterculture which turned out to be primarily artistic, while wisely remaining suspicious of much of the other nonsense the youth movement touted, some of which was destructive and hollow. In my opinion, Zappa, were he alive today, would rail as much against liberal groupthink and shallow political correctness as he did against right-wing censorship and Reaganism in the 80s or cultural stagnation in the 60s. Frank could really be lassoed by no one: he could be sexist, misanthropic, selfish, and even hypocritical on certain things (his daughter Moon has confirmed he was a less than stellar father even as he lectured other parents on their child-rearing.) He believed in being in control of one's life and practiced DIY musically and otherwise. (The book quoted below is a great source for insight into this complicated fellow and his beliefs.)

"Freak Out!" is an absolutely essential marker in rock history, it is Sha-Na-Na from hell, it is a Cheech and Chong styled Broadway musical with intellectual, razor sharp wit in place of adolescent drug humor. It is a warning shot from a dark stranger who grabbed the mic on talent night and gave the suburban audience some Lenny Bruce level stand-up which sent them home shaking their heads. People who complain about it being "just basic rock and roll" or "too 1950s" completely miss the point. It is about the contrast of the seemingly traditional with pure rebellion, about turning the realities of the moment on their head. Sure the pure musical adventure of later albums would be stimulating in their own way, but taking the seemingly safe and Motherizing it is no less fantastic, and the fact that many of the ditties are pleasing to sing along with can be an asset. The Mothers were perhaps no less than the west coast version of the Velvet Underground, though ironically Zappa and Lou Reed despised each other and openly dissed each other.

Certainly the music may seem rather basic period rock to today's prog fan, but after just a few spins these songs get under your skin as you realize how good they are. Basic blues-rock, DooWop, soulful romantic ballad, creeping psych and avant weirdness make up the template upon which Zappa's monologue is delivered. It works so unbelievably well, sounding completely flowing and cohesive. It entertains with humor even as it disturbs by tearing down the safe and getting weirder as the album staggers towards its end. The sexual innuendo and outright contempt for traditional sensibilities cannot be missed. The final four tracks are amazing, from Dylanesque rapping commentary in "Trouble Every Day" to the mind warping, songs-dissolving "Help, I'm a Rock" and "Monster Magnet." Sandwiched in there is my favorite little Freak Out song "It Can't Happen Here" which warns us stoic Midwesterners that the freaks were coming for us.

"Frank was delighted with the album. He showed up at his family's house...waving a copy of the album, a huge smile on his face. The music startled them, but Frank kept nodding encouragingly and no one expressed any misgivings. The whole family, even Francis, went to see the Mothers play... Freak Out was the first double-rock album, the first rock "concept" album and musically it was about as cutting-edge as a rock album could be without being classified as avant-garde jazz or modern classical. Over the years it has consistently been voted as one of the top 100 greatest albums ever made and even today it has not aged, even if the recording quality now seems a bit raw." --Barry Miles, "Zappa, A Biography"

"Freak Out!" is an authentic slice of history, a masterpiece of the sunrise of progressive music, and an essential title for a well rounded rock collection. Other Mothers albums would get technically better and Frank would expand his horizons greatly after the 1960s, but in my view the original burst of creativity on debuts like this hold charms as magical as later "definitive artist works." I've always felt there is something special about the albums that cooked up something fantastic with the most basic kitchen ingredients of the middle 60s. "Freak Out!" is as gritty and dangerous below the surface as "Exile on Main Street", but Frank delivered it nearly a decade sooner than the Stones.

A review by Warthur:

What an album! For the first two-and-a-bit sides “Freak Out!” treats the listener to some of the most diverse, witty, and bitingly cynical rock music of its era, the sort of thing that might result from a psychedelic band made up of escaped mental patients playing to lyrics written by Bob Dylan on a really bad day - check out ‘Trouble Every Day’ or ‘Hungry Freaks Daddy’ for some of the angriest and most direct political writing Zappa would ever indulge in - mixed with sonic experiments like the creepy ‘Who Are the Brain Police?’ and filled in with some warped deconstructed doo-wop ditties like ‘I Ain't Got No Heart’ or ‘You're Probably Wondering Why I'm Here’.

And then, after ‘Trouble Every Day’, it gets *really* strange. But it would be a mistake to write off ‘Help, I'm a Rock’ or ‘Return of the Son of Monster Magnet’ as aimless jams; like school buddy Captain Beefheart's own strangest work, those two tracks yield more secrets the more you listen to them. Take all the vocals in the ‘It Can't Happen Here’ segment; try to listen to the words and it just doesn't make sense, until you realise that the voices aren't meant to be saying anything that makes sense - they're being used as instrumentation, and the piece is actually an orchestral ditty conveyed entirely through the human voice.

I can't quite give this one four stars because it does outstay its welcome - one or two of the doo-wop bubblegum pop numbers could have happily been trimmed - but there's no mistaking the importance of this album. At the time it was released, *nobody* had produced anything so simultaneously eccentric and erudite in a rock context.

#2

Miles Smiles
Miles Davis

A review by AtomicCrimsonRush:

Davis, Shorter and Hancock were a force of jazz fusion and they absolutely shine on "Miles Smiles". This early jazz fusion album encompasses the jazz genre. The drumming is manic and constantly knocking out of time sig, and the bassline is non stop be bop rhythms. Over this framework sax and trumpets blaze with illuminated genius. Davis is a pioneer and has a plethora of albums to sink into. Some are better than other and "Miles Smiles" is full blown jazzing improvisation. It is not as progressive as the sound gets on subsequent albums but nevertheless there is a compelling inventive style engrained in the music.

‘Orbits’ is a wonderful opener with a fast bassline and drums as Miles blows up a storm on his trumpet. Hancock has a field day on piano as does Shorter on sax. The intense music is exciting and adventurous throughout. ‘Footprints’ features jazzy hi hat timpani and Miles delightful trumpet with the sax following the melody harmoniously. The melody reminds me of a late night driving in rain soaked streets. Full of urgency and the rhythm of the late night, the sound is a jazz feast and virtuosos musicianship.

‘Dolores’ is another quick tempo track with lashings of trumpet and bright hyper percussion. The sax of Shorter takes over as dominant lead and drives the track to a stirring conclusion.

Another highlight is ‘Gingerbread Boy’ with chaotic percussion and bass while sax and trumpet compete to take over as lead instrument. The intensity of the free form jazz sound is astounding and it is nice to hear Herbie Hancock's piano take a turn on the track. The glistening piano runs are inspiring and full of dynamic motifs and vigorous energy. The crashing cymbals and drums of Tony Williams are a key feature but no one can top Miles' trumpet explosions.

This album is an essential listen for jazz addicts.

Days Of Future Passed 
The Moody Blues

A review by AtomicCrimsonRush:

1967. The birth of prog... and here is one of the instigators. Let us embark on a journey. The day begins opens with an orchestration and a narration; "Cold hearted orb that rules the night, Removes the colours from our sight, Red is gray and yellow, white But we decide which is right, And which is an illusion". So begins an enthralling experience.

Dawn: Dawn is a feeling "Dawn is a feeling, A beautiful ceiling, The smell of grass, Just makes you pass Into a dream". The lyrical poetry works well with the massive orchestra and of course the soaring crystal clear vocals of Justin Hayward.

Morning: another Morning As we emerge into the morning the music brightens "Balloons flying, Children sighing, What a day to go kite flying, Breeze is cool Away from school, Cowboys fighting out a duel, Time seems to stand quite still In a child's world, it always will".  The album is dated due to the lyrics that are eccentric and oddball.

On Lunch break: peak hour The lyrics are thought provoking such as,"Minds are subject to what should be done, Problems solved, time cannot be won, One hour a day, One hour at night, Sees crowds of people All meant for flight." The stirring rhythms and ambience is as emotive as the band can get and this leads to: Tuesday afternoon (forever afternoon). Mellotrons. Heavenly vocals. The time signature changes dramatically and the album really has one incredible masterpiece track here. This track would absolutely permeate itself in the band's repertoire. It encompasses everything the band stands for, soaring vocals, emotive thought provoking conceptual lyrics, and music that reaches into the stratosphere. Evening: the sun set: twilight time is a sweet medley sandwiched between two classics. The three tracks are fused together as one seamless composition and are really beautiful pieces with passages of orchestra and synth that stir the soul.

Night: Nights in White Satin. A quintessential Moody Blues brilliant master work. It begins with astonishing orchestration as good as one may hear on a soundtrack to a movie. It rises to a crescendo and settles as the bass and drums keep a constant stream of rhythmic patterns. Hayward's voice is angelic, "Nights in white satin, Never reaching the end, Letters I've written, Never meaning to send..." The other tracks build inexorably to this magical moment and it even ends with an epilogue Late Lament that is part of the whole experience;"Breathe deep the gathering gloom, Watch lights fade from every room, Bedsitter people look back and lament, Another day's useless energy spent..." It bookends the whole album with stunning orchestration which is similar to the intro of "Nights".

The two master tracks plus other moments weaved into the tapestry make this an excellent album to savour and remember. It was way back in 1967 that music like this was being created, before any of the sprawling concept artists that permeate modern prog, and it is the ultimate Moody Blues experience with their two best songs.

A review by Ivan_Melgar_M:

The Moody Blues were never a progressive band, that's a fact we must understand before reviewing this good album; they had some progressive approach and some distinctive elements of the genre but nothing more.

On the other hand their relevance as predecessors of the genre is absolutely undeniable, especially in "Days of Future Passed" an album that uses many prog' elements like the use of Mellotron the inclusion of an Orchestra and the fusion of genres. None of these elements were absolutely new in rock history but I could dare to affirm that it was one of the first times all were used together.

I've not mentioned the idea of a conceptual rock album (about a normal man's day) which is also characteristic of Progressive Rock, because I believe Days of Future Passed is the first album that clearly developed it, mostly because the story of each song is perfectly linked with the next one, like other previous albums Sgt. Pepper's by The Beatles (doesn't have a concrete concept) or Little Deuce Coupe (Just a collection of 12 songs with no senses of continuity) and Freak Out (also not clearly a conceptual album) both by Frank Zappa and the Mothers of Invention.

It's also important to remember that 1967 was a very important year for rock, British Psychedelia was reaching it's maturity but there was needed a change of direction to turn into Progressive Rock, "Days of Future Passed" is one of the first steps, the aggressive and druggy mood of this era is not as evident as in most albums of the era, "Days of Future Passed" is much more lyrical and ambitious.

The introduction of The London Festival Orchestra conducted by Peter Knight was a good idea, even when The Moody Blues didn't work it perfectly because most of the time the Orchestra sounds as an alien element to the music, not as a vital part of the composition, maybe also a bit naive and simple but at the same time adventurous and elegant. In other words enhances the music but doesn't totally blend with the atmosphere of the album.

I'm not sure if The Moody Blues were conscious they were helping to create a new genre, but they wanted to do something different and surely they did it.

Justin Hayward's voice is one of the highlights; his voice reaches almost all the ranges and sounds perfect for this soft kind of music. Keyboards are absolutely innocent and that's maybe it's greatest beauty, specially when Pinder sounds absolutely different to anything from the late 60's, it's important to notice that when most bands were using the cheesy Farfisa Organ, The Moody Blues were experimenting with the Mellotron.

If I had to choose a track I would have to go with "Nights in White Satin" because of the importance it has as an all time classic that will pass to history as one of the masterpieces of Rock history, simply beautiful and wonderful song.

It's very hard to rate this album, because the music is too simple to consider "Days of Future Passed" as a masterpiece, but it's relevance in the developing of early prog' is so transcendental that no collection will be considered complete without a copy.

#4

Absolutely Free
Frank Zappa

A review by AtomicCrimsonRush:

Zappa's live debut with the Mothers of Invention "Absolutely Free" was an extravaganza to be heralded by many over the years. The live Zappa was always a different beast than the studio version. It begins with the announcement, "'Ladies and gentleman, the president of the United States". Then it goes chaotic with ‘Plastic People’, as weird as it gets lyrically and featuring some excellent guitar licks and a fractured time sig. Zappa states we are "a product of plasticity, blah blah blah blah, cabbage is a vegetable, you dream about your feet, you are pebbles, purple prancing". It is very strange as usual and is focused on Nazis.

‘The Duke of Prunes’ continues the madcap humour, with Zappa rhyming 'prune' with anything else he can think of such as 'June'. I see your lovely beans, I bite your neck, chunka chunka chunka." It is difficult to describe but imagine the music spinning wildly out of the box and you may be close. Later we get into a song about vegetables "they keep you regular". The free form jazz is great and Zappa keeps interjecting with weird anecdotes that are part of the concert experience. He even yodels rudibake, and says a prune is not really a vegetable, a cabbage is a vegetable.

The saxophone sounds of Underwood are always a treat, as well as the crazy guitar breaks and they shine on the lengthy ‘Invocation and Ritual Dance of the Young Pumpkin’. The instrumental section is a definitive psychedelic freak out with Zappa and the Mothers in all their glory in full flight. This is where Zappa has cemented his indelible reputation as a guitar giant. Underwood is a force to be reckoned with blazing brilliantly on sax.

‘Soft Cell Conclusion’ breaks this up admirably with more bizarreness about "green things in general". ‘Why Dontcha Do Me Right?’ Has a driving rhythm and some zany vocals, the deep raspy type that Zappa loves to lock into. The riff is bluesy and grinds along on a straight time sig, but the lead guitar break is a highlight.

"One two buckle my shoe" begins America Drinks and the drunken candour of the band is rather humorous. The music sounds drunken without remaining on a time sig figure. The saxophone breaks out suddenly and laughs along to the pounding bassline. ‘Status Back Baby’ features a sax solo ranging from beautiful melancholy to angry emotions, perhaps like the high school student's emotional rollercoaster.

‘Uncle Bernie's Farm’ is really quirky, a cool bassline and jangly guitar groove out the highly strange time sig. The lyrics are nonsense and quite funny, even Zappa laughs at the silliness; "There's a man who runs the country and they are all made out of plastic". He seems to be making up the words as he goes and the musicians seem to be improvising.

‘Son of Suzy Creamcheese’ "oh mama, what's got into you?" is a Zappa favourite and has appeared on other live albums. The song has an infectious melody and works well on the live stage.

‘Brown Shoes Don't Make It’ is another of the lengthy tracks with some incredibly cynical vocals; "be a jerk go to work, do your job and do it right, do you love it do you hate it." The high vocalisations remind one of Magma and this one features some weird effects and fractured time sigs. It is perhaps a more inventive approach similar to "Freak Out!" The violins are creepy along with Zappa's off kilter vocals. Underwood plays a low sax tone and there are violin embellishments. The lyrics get cruder and even sillier as it progresses; "he's rocking and rolling and acting obscene, baby baby baby, and he loves, loves it and he curls up his toes, she bites his fat neck and it lights up his nose, she's nasty she's nasty she does it in bed." The style changes to a weird 40s style and then moves into several other time sigs and styles like songs within songs. It is quite a rodeo and along the way we hear spacey effects, children's voices "what would you do daddy?" to which he answers "smother my daughter in chocolate syrup, and boogie till the cows come home." Does humour belong in music? Zappa thought so.

‘America Drinks and Goes Home’ moves from ear to ear, left and right, and the orgiastic screaming and caterwauling at the end sounds like a party. For 1967 this album is a bold move and there was nothing like it at the time so Zappa shoved it up the musical authorities and had fun doing it. 

A review by Warthur:

Consisting of two side-long suites (with contemporary single Big Leg Emma/Why Don'cha Do Me Right? acting as a sort of interlude on most CD versions), Absolutely Free takes the two halves of Freak Out! - skewed pop/rock numbers and avant-garde experimental tracks - and mashes them together until the two ingredients are inextricably bound. Take the first suite, Absolutely Free, which after it sputters into life with the still angry, still politicised Plastic People takes the listener on a journey through a world of vegetable-themed romance which slips Stravinsky lines and free jazz noodlings in as it ricochets from frenetic experimental chaos to Supremes-inspired Wall of Sound pop heaven.

#5

The Piper At The Gates Of Dawn
Pink Floyd

A review by AtomicCrimsonRush:

The debut of Pink Floyd is one of the most important albums of the 60s.

It is here where the space rock genre started. Hawkwind owe a lot to this album as do many other prog bands churning out from the 70s. It simply caresses the ears from start to end with crystal clear clarity.

"Neptune Titan stars can frighten you, blinding signs flap flicker flicker flicker blam pow pow!" 'Astronomy Domine' sends chills down the spine as soon as that lead break locks in. It is Barrettt's finest moment. The lyrics are absolutely perfect and are engrained in psychedelia as much as the swirling lights in the UFO Club. Syd's Astronomical Atlas helped with the lyrics. The cover version by Voi Vod is worth seeking out too for a heavier feel.

"That cat's something I can't explain." 'Lucifer Sam' has always been a favourite, perhaps one of Barrett's best compositions with the group. It grooves along with psychedelic flair, like a black cat stalking a mouse. The song was based on Percy the Rat Catcher and I, Ching fragments of counter culture.

"across the sea in wooden shoes, bells to tell the king the news." 'Matilda Mother' has silly lyrics about a bedtime story read by mother.

"Lying on an eiderdown, yippee you can't see me but I can you." 'Flaming' is appealing thanks to a memorable melody and some downright trippy effects. The lyrics are based on an LSD psychedelic picnic where Syd played hide and seek with sister Rosemary. The LSD caused fingers to burn sparks like cigarettes.

"cch cch! cch cch! doi doi! doi doi!" After an absolutely uproarious intro with vocal intonations from out of the asylum, 'Pow R. Toc H' settles into a bluesy piano. Floyd were nothing short of experimenting with the drug culture music that prevailed during the turbulent late 60s. TocH was a signallers call for the Talbot House army club.

"Realise realise realise!" 'Take up thy stethoscope and walk' is quite a curio with some nice melodic phrases from Barrett and the riffs chug along satisfactorily. This one really feels like the 60s with manic keyboard motifs and scratchy guitars. The organ grinds along with freak out finesse, and it's a jam session for acid heads which works as a piece of nostalgia these days. It was a formulaic attempt to capture their on stage sound, penned by Waters.

"bleep bleep bleep" 'Interstellar Overdrive' is one of the most well known instrumentals for the band. It features a killer riff and incredible experimental kanoodling. Some of this sonic disorientation is downright unsettling and makes for a delightful background for an acid trip for the flower children of the 60s. Perhaps it represents a bad LSD trip as this is quite dark especially as it progresses into chilling psychedelia tones mid way through. It is meant to aurally evoke the confusion and dislocation of the drug rush. The high pitched repetitive note may portent the style of 'Echoes' intro, and most of this is improvised for atmosphere more than well played instrumentation. The music represents the submission to LSD, the period of exploration, and the slow descent into contemplation.

"Eating sleeping drinking their wine, he wore a scarlet tunic, a blue green hood, it looked quite good."'The Gnome' is one of those childish fairy tales inside Barrett's deranged brain. The whispered section is quite effective. It is all inspred by Tolkien's "The Hobbit", Frodo's adventure.

"The movement is accomplished in six stages, the seven is the number of the young light." 'Chapter 24' has lyrics about some chapter in some obscure transcendental I, Ching book. Chapter 24 of the book is titled Fu or change and success, and Syd was endeavouring to explain his increasing psychic upheaval experienced due to his fame and revelations through LSD.

"he stood in a field where barley grows, his head did no thinking his arms didn't move." 'The Scarecrow' features the story telling antics of Syd. This time he is onto another plane of existence singing about some weird scarecrow in the field who has the answer to Syd's sadness. In fact the scarecrow resigns to the fact that he cannot enjoy life, he will never be able to move and has to succumb to the mice churning up the ground beneath him. The nursery feel and click clack horse sounds are effective and Wright is marvellous on keyboards.

"you're the kind of girl that fits in with my world, I'll give you anything everything if you want things."'Bike' is one of the better tracks and most Floydians know this well. It is well outside what Floyd would do in later years. The whimsical lyrics rhyme brilliantly about things special to Syd; the bike, gingerbread men, a cloak and a pet mouse, and a girl who he wants to fit into his rag tag world.

The album ends with a creaking door, clocks chiming and a ludicrous quacking. The debut from Barrett, Wright, Mason, and Waters is an entertaining romp and remains the essential late 60s psychedelic prop.

A review by Ivan_Melgar_M:

When I bought this album I was already a "Dark Side of the Moon" fan, and to be honest "Piper at the Gates of Dawn" sounded to me as a heresy. Why were my idols playing that exuberant and lysergic music? But the answer was simple; Syd Barrett. With the passing of time I learned to love this album and today it’s one of my favorites, even if it has almost nothing in common with the progressive Pink Floyd.

"Piper at the Gates of Dawn" is a semi conceptual album inspired in Syd Barrett's favorite children's book "The Wind and the Willows" and because of that is somehow naïve and innocent, but it's also an ode to madness, sometimes confusing and sometimes total lack of coherence, but that insanity is the key of it's beauty and transcendence.

The album starts with "Astronomy Domine", a typical psychedelic song of the late 60's with a pop edge and guitar based sound plus simple but effective drums. Even when Floyd didn't even dream with DSOTM we can listen to some spacey sections, as an Avant premiere of the sound they will develop years after.

"Lucifer Sam" is a song where Roger Waters demonstrates what he is capable of with his powerful bass, reminds me of moments of the Batman Theme (remember the 60´s series?), a good song but nothing special, except maybe for the complex mixture of instruments in the middle section of the track and the overplayed keyboards that sound like Farfisa Organ.

"Matilda Mother" reminds me of Sergeant Pepper's and it must have been a classic when the album was released, but today sounds outdated, even when it's a very complex track with multiple changes and elaborated vocals. You can almost feel the effects of the LSD when you listen to this song.

"Pow R Toc H" can be described in two words, pure acid, the song is plagued with sounds and shouts, almost always out of tune, that would be totally out of reality if it wasn't for the extraordinary piano sections by Wright that brings us back to earth.

"Take thy Stethoscope and Walk" is without doubt one of the worst songs of the album, incredibly was composed by Roger Waters and is a typical 60's song but lacks imagination and coherence. The next track "Interstellar Overdrive" is one of the first clear attempts of space rock, still confusing and chaotic but very interesting, the band offers something innovative.

"The Gnome", "Chapter 24" and "The Scarecrow" are three weak Barrett songs, again the band offers nothing different to what second-class bands done before, pretty forgettable except for the historical value of being composed by Syd Barrett.

The album ends with the childish and naïve "Bike", don't know why but I find this song very interesting and well done, as a curiosity, in the middle section there's a moments silence and an explosion of clock like sounds that for an instant transports the listener to Dark Side of the Moon.

"Piper at the Gates of Dawn" explores two aspects of psychedelic music, the exploration of a world that goes further than the senses and at the same time an absolute demonstration of mental insanity, which explains Syd Barrett's future breakdown. Not progressive by any means but an absolute masterpiece of British Psychedelia that can't be easily understood by those of us who didn't live the excesses of the late 60's.

An essential piece of music, basic to understand the history of one of the most incredible and innovative bands of Progressive Rock.

#6

Procol Harum
Procol Harum

A review by AtomicCrimsonRush:

Procol Harum's debut is a strong beginning for a band that left an indelible mark on organ led melodic rock. The remaster features the absolutely essential track that most people have heard at some time or another, ‘A Whiter Shade of Pale’. The organ motif is unforgettable as is Brooker's psychedelic vocals and dreamscape lyrics. They became known for this track alone but of course the album has more to offer.

‘She Wandered Through the Garden Fence’ is whimsical and features some infectious melodies. Cerdes (Outside the Gate of) is a killer track with psychedelic images and a contagious hook, with organs blazing and one of the more forceful vocal performances. ‘A Christmas Camel’ features hammering piano and a delightful soaring melody. The lyrics centre on the mysteries of madness and war with powerful imagery of men who "impaled themselves on six inch nails", and "my feeble sick wearied brain I'm overcome with shame". The lead break of Trower is a great part of each song and here is no exception.

‘Repent Walpurgis’ sounds slightly like ‘Whiter Shade’, at least in organ sound and tempo. The instrumental track is another highlight and meanders along slowly with an extended intro before Trower's guitar kicks in. the piano flourishes are note worthy and it a dreamy soundscape is generated.

Overall, this is a wonderful debut for a band that would soon be a worldwide success thanks to a little thing about skipping the light Fandango, a miller's tale, 16 vestil virgins, and the crowd turned out for more.

A review by Sean Trane:

This is another one of those seminal proto-prog albums that is so instrumental to prog and music in general. One of those obligatory passages from sixties pop to seventies rock, along with Caravan's debut, Soft Machine's first two albums and the Nice's debut. The original UK vinyl did not have the heavily Bach-influenced Whiter Shade Of Pale on it but the US release (four months previously) does and quite rightly so. One of Procol Harum's most innovative trend is a lyricist (Keith Reid), some two years before Crimson's Pete Sinfield, and even before Pete Brown (Jack Bruce's lyricist in Cream), and his incredibly poetic text will be over-analysed for years to come, but they were one of the most important strength of Procol's better tracks.

Procol Harum is one of those groups that should really be considered pioneers of prog as they were the first one to have this double KB attack as Brooker sang and played piano and Fisher played the Hammond organ in such a fabulous manner that it is the principal reason for the success of Whither Shade Of Pale with this awesome intro. However the real gift of Procol lays in the guitar and the drumming. No histrionic solos here, but listen to the incredible psychedelic underlining guitar lines form the awesome ROBIN TROWER. This is a man who was pinned down as a Hendrix clone/student but here again the popular wisdom is wrong as this came out before the first Hendrix album, and one can see here, that he was into experimentation before that. Trower's blues guitar mixed with the classical influences of both keyboards being blended successfully is one of Procol's most enduring achievements. BJ Wilson's excellent drumming is one of the most under-rated prog drummers ever.

Some of the tracks are simply incredibly advanced for the times and still sound so solemnly beautiful nowadays: listen to Oustside The Gates OF Cerdes, Repent Walpurgis, and future hit Conquistador, to get a load on how great these guys were working as a unit and breaking ground with almost every track. To call this album full-blown prog is maybe a little quick, though: Kaleidoscope, Mabel and Captain Clac are tracks full of great psychedelic invention that even Floyd or the Beatles would've proudly called their own. One of the secrets of Procol's success is the descending bass lines (a descendo? ;-) on many of their better tracks and most notably on their Whiter Shade Of Pale

The ideal thing would be to find this album with both Whiter Shade Of Pales and the second single Homburg (which was a bit too much of a carbon copy of Pale, but still excellent) and their two B-sides. Simply one of those historic albums and one of the first prog albums. This album has received many a release over the years, some with rather poor sound, and to make sure you get a proper copy, try out the Westside label.

#7

Safe As Milk
Captain Beefheart

A review by AtomicCrimsonRush:

"Well I was born in the desert came on up from New Orleans, Came up on a tornado sunlight in the sky, I went around all day with the moon sticking in my eye". Captain Beefheart rams it straight down the throat of the listener with the weird vocal style on this early avant garde album "Safe as Milk" which is anything but. It is rather a dangerous sound they generate unlike anything at the time and compelling listening at that. Sure 'Nuff 'N Yes I Do is kind of like a sleepy Western film complete with wonderful slide guitar and bluesy strains. Then it moves into a rock jazz thing with loud blaring guitars and poor production sounding like an old transistor radio sound.

‘The Zig Zag Wanderer’ is a full blown noisy rocker with repetitive motif and weird lyrics; "You can huff, you can puff, You'll never blow my house down, You can zig, you can zag, Whoa I'm gonna stay, gonna stay around."

‘Drop Out Boogie’ has some nasty vocals and a rather crungy guitar sound with a classic simple riff, sounding like Soft Machine's ‘We Did It Again’. ‘I'm Glad’ has a slow 50s feel and some pain wracked vocals singing about "the good times that we've had, walk in the park, kiss in the dark, leaving just like a spark." The melancholy feel is not akin to Beefheart's signature sound but it breaks up the avant garde stuff nicely.

‘Electricity’ is one of the all time great Beefheart tracks, featuring Don Van Vliet's snarling "Wolfman Jack" vocals and time sig changes with some creepy musicianship. It is a real blast with dynamic rhythmic figures, wonderful pulsing bassline, and psychedelic art rock flourishes. The lyrics are full of high strangeness; "going to bright find a light, lighthouse beacon straight ahead across black seas seeking electricity, high voltage man kisses night breathe the last of those who leave behind." This is definitive Beefheart and well worth seeking out as an example of the genius at work.

‘Yellow Brick Road’ begins with a reference tone so the narrator states. Then a country rock rhythm locks in and some strong vocals leading to a rather off beat chorus. ‘Abba Zabba’ is golden slabs of rhythmic nonsense with Ry Cooder's funkadelic bass and psyched guitar accompanying the madcap lyrics.

The ultra cool blues of ‘Plastic factory’ is stunning, quivering blues harmonica phrases and cynical vocals driving it. The instrumental break is a hypnotic signature broken by short choppy diversions.

‘Where There's Woman’ is an outstanding track with a terrific chorus and very satirical lyrics such as "Where there's evil a hound's tooth bear white, where there's good is where I'll be tonight, where there's love there burns eternal light, where there's woman I take her without spite." The melody is strong and it ends quickly before it gets too much.

‘Grown So Ugly’ is a rocking bluesy song with very pronounced riff echoing every vocal phrase. Vliet sounds aggressive and the full on guitar sound is very welcome.

‘Autumn's Child’ ends the album on a solid note, with eccentric nuances, vocals that screech, and a weird spacey sound on keyboards. "Go back years ago sunbeams fill the air" is the most remembered phrase, but overall this is dominated by a strange structure and progressive time sig changes and mood swings.

The debut for Captain Beefheart and His Magic Band is very adventurous and showcases the experimental humourous style that permeated their catalogue of albums. It is not as ferociously bizarre as the insane manic "Trout Mask Replica" but this is still an important album leading to quirky arrangements and themes explored in prog rock to come in the 70s golden era.