1000 Prog Albums Over 46 Years: 1966-2011

1970

#33

H to He, Who Am the Only One
Van Der Graaf Generator

A review by AtomicCrimsonRush:

“H to He Who Am the Only One” is an excellent album from Van der Graaf Generator, definitely one of their best alongside “Pawn Hearts” (their best), the much celebrated “Godbluff” and the incredible “The Least We Can Do Is Wave To Each Other”. The album begins with the dynamic 'Killer' which is easily the best track on the album and a concert favourite. It focuses on a narrative perspective from a killer shark who wants to be loved but has an impulse to kill outside of its control: "You crave companionship... because the whole of your life you've been living alone". The real highlight beyond the lyrics is the way Hammill delivers with absolute conviction and the way that the instruments compliment the keyboards with saxophones and percussion that is off beat at times but never out of time. Perfectly in synch, all the instruments blend to create a soundscape of doom and majesty and it captures the imagination unlike anything the early 70s had to offer. At 8 minutes the track flows beautifully from one segment to another, and features an erratic instrumental break that almost transports you under the sea witnessing a shark attack, the shrill saxophone bursts could be a fish screaming in pain, and the deep rumbles could be the shark swimming to its next meal. 'Killer' is an instant classic and a must for anyone interested in this genre of music.

'House With No Door' is one of the contemplative existentialist pensive tracks where Hammill contemplates life and the purpose for his existence. 'Emperor in his War Room' is a torrid saga of an Emperor who "cradling his gun, after choosing the ones you think should die... crawling over the windowsill into your living room." The bodies that are "torn by vultures" are left to die by the "saviour of the fallen, protector of the weak". Once again terrific lyrics overladen by mellotron, atmospheric drums and saxophone, and the relentless bass.

"Lost" is another brilliant track that begins with a swirling dervish of keyboards and wrong chords that are used to maximum effect. It moves all over the place, with time signatures that are difficult to emulate. This is one of the more complex tracks from the band, and features an excellent saxophone and keyboard solo that drives the song forward to the final section ‘The Dance in the Forest’. One part pulses with a driving bass while a thin saxophone contains a strong esoteric melody. The echo of the saxophone adds to the sense of alienation and bleakness. It all ends on an off kilter series of notes that speed up into a frenzy that finally fades out.

'Pioneers Over C' begins with a high pitched atmospheric note, then a low rumbling Hammond keeps the jagged rhythm in tact somehow, while the percussion kicks in. It's a great sound and prepares the way for Hammill's spaced out lyrics. "Somebody help me I am falling down," he cries. There is a beautiful acoustic arrangement and sparse saxophone. "The universe is on fire exploding without flame" - fair enough if the universe is going to go foom it may as well be to the melodies of VDGG. Heavy stuff throughout, it never becomes overbearing thanks to the excellent structures of each track that range from tranquility to an out of control maelstrom.

The bonus tracks are surprisingly good and worth the effort. "Squid/Octopus" is a fantastic lengthy 15 minute epic that works well on a number of levels. From the estranged vocals, "I wish that you would set me free forever, but these rings on my arms are too deep...", down to the way it blasts and spews waves of noise using instruments from acoustic guitar to mellotron. It loses control halfway through almost improvisational in places and then somehow finds its way again, nobody could jam like these guys. 

A review by Conor Fynes:

The sixties had finally ended, and progressive rock was now finally standing on its own two feet. Although most of the recognition would go to the likes of King Crimson, Yes, and ELP, it is my opinion that Van Der Graaf Generator released among the most inventive music of the period. Whether it be their unique style, their brilliant use of keyboards, or the gorgeous voice of frontman Peter Hammill, I have found myself more drawn to this band's work than most any other 'classic' prog act. The oddly titled 'H To He, Who Am The Only One' is among the band's most acclaimed works, perhaps only dwarfed by the subsequent 'Pawn Hearts' and 'Godbluff.' Although the band's work here doesn't move me as much as my favourite VDGG music, 'H To He' deserves recognition as a classic in the band's canon.

Van Der Graaf Generator is quite clearly a prog rock band, but one thing that makes them stand out is that they were a fair bit gloomier than most of their contemporaries. This reflects in both their music and the highly poetic lyrics of Peter Hammill. Although the concepts and themes that drive this music has much in common with a lot of 'prog,' Van Der Graaf Generator approaches it differently here. 'H To He' delivers Van Der Graaf Generator's signature style in droves; a tight blend of jazz, classical music, and psychedelia. To elaborate, VDGG feel like a jazz band playing classical music through psychedelic rock means. Also notable about the work here is that there is virtually no guitar in their work, although there are plenty of Hugh Banton's gritty keyboard textures that make up for it.

The songwriting on 'H To He' favours longer compositions, often based in storytelling or metaphor. 'Pioneers Over C' for example, details the story of a space voyage gone sour, while 'Killer' and 'The House With No Door' are both allegories for isolation. Peter Hammill certainly has a penchant for the morose in his poetry, and this is sure to turn off listeners who want something a little more optimistic. As is common in all Van Der Graaf Generator album, 'H To He' becomes memorable not first as an overall album, but for its many 'wow' moments. Each of the five tracks here are given some amazing passages, be it a gorgeous vocal melody, dramatic climax, or jazzy break. The songwriting and structure of these pieces is excellent, although the main issue with the work here is that all of these songs feel just a little too drawn out for their own good. Even the beautifully tender 'ballad' track 'The House With No Door' feels as if it could have done with a minute sliced off. Much of VDGG's best work has been indulgent like this, but I do feel that 'H To He' contends with this issue a little more than say, my favourite of their albums, 'Pawn Hearts'.

That's not to say that there is filler here, merely brilliant ideas slightly short of being used optimally. 'H To He' is not my favourite VDGG album, but there is more than enough here to demonstrate why I love them so much. 

#34

Emerson Lake & Palmer
Emerson Lake & Palmer

A review by AtomicCrimsonRush:

ELP roars into the prog world in a blaze of glory with this 1970 debut. Bands worldwide must have been envious of the debut that stamped authority on prog and a unique blend of symphony and rock. Every track screams to be noticed and are all bonafide classics in their own right.

‘The Barbarian’ is a fabulous complex instrumental featuring chaotic drumming and a frenetic Hammond from Emerson. ‘Take A Pebble’ has beautiful lilting vocals and an amazing melody line that is unforgettable. The lyrics are simply mesmirising. There is a piano interlude and acoustic instrumental making this an absolutely brilliant piece of virtuoso music from end to end.

‘Knife-Edge’ is a trademark ELP track and features Hammond stabs and wall to wall bass and drums, a very frenetic time signature and potent vocals. The 4 chord staccato stabs are powerful and aggressive. ‘The Three Fates’ is the lengthy majestic Emerson showpiece that grows on the listener. ‘Tank’ showcases Palmer’s enimatable style, a drum time signature that made all other drummers sit up and take notice. ‘Lucky Man’ became ultra popular and blitzed the charts showing the softer balladic style of the band and Lake's quiet approach to music.

The album is a master class performance and, as far as a debut goes, it would be hard to find better.

A review by Sean Trane:

As far as I am concerned this one is the most honest and the least bombastic of their records and therefore my personal fave. Such a good album to start with that even ELP started with this one also.

Take A Pebble is fantastic and so are Tank and Barbarian. It is hard to fault those three guys for having left their respective groups - Lake's choice to leave Crimson was disputable but valid and The Nice was a spent force and Atomic Rooster would go on to better things.

Actually, if you can believe it my least fave is Lucky Man as it is relatively out of line with the rest of the album and that long Moog solo does not do much for me.

If you are discovering ELP, this would be the perfect album for an intro and work through their discography chronologically until..... you feel like it!

#35

If I Could Do It All Over Again, I'd Do It All Over You
Caravan

A review by AtomicCrimsonRush:

This is a fantastic Caravan album that is one of the best Canterbury albums of 1970. The music is inventive and there are enormous amounts of virtuoso musicianship throughout. The highlights are in abundance and have impacted the band for years, still remaining in recent concert set lists. This is vibrant music with an uplifting bright feel. The musicians are tight and the songs are infectious, and it all feels very progressive with creative time sig structures and some of the best lyrics the band have generated.

Of course with Caravan there is always a feeling of whimsy in the lyrics and themes and all is performed with a sense of fun. The band have so much fun that the listener is also able to enjoy the experience. The title track is a classic, ‘If I could do it all over again, I'd do it all over you’, and only has a running time of about 3 minutes. The more lengthy ‘And I wish I were stoned - Don't worry’, clocking 8 minutes 21, is definitely an ear opener with some innovative instrumentals from the talented guitarist extraordinare Pye Hastings and David Sinclair on keys. As with all classic Caravan albums this one has the obligatory medley of songs jammed onto one track such as ‘With an ear to the ground you can make it / Martinian / Only cox / Reprise’, almost 10 minutes of prog bliss. But the real piece de resistance is the treasure all Caravan fans adore, ‘Can't be long now / Françoise / For Richard / Warlock’, a 14 minute maelstrom of catchy choruses and mind blowing keyboards.

A review by Warthur:

Caravan's second album shows a startling amount of growth since their debut. In the two years since they issued that psych-pop charmer they'd honed their craft, improved their songwriting, developed a taste for epics, started flirting with a little jazz-rock (perhaps inspired by the success of their pals in the Soft Machine), and become the tight unit seen on this album. The band had gone from the psychedelic followers of their debut to innovators in their own right, presenting a Canterburified vision of psychedelic jazz-influenced prog with a more mellow and sunnier attitude than the Softs, with the occasional outbreak of more energetic playing. The end result was good enough that a few months before recording the album Frank Zappa (who was acting as compere at a festival Caravan were performing at, due to a snafu with the Mothers' work visas) spontaneously joined them onstage for a jam - and when your band is good enough that Zappa is that keen to play with you, you know you've arrived.

The highlight of the album is usually said to be "For Richard", and I can't disagree with that, but then I can't find any songs on here that fall particularly short of its standards. One for when you need to relax a bit, maybe, but still a masterpiece of the early Canterbury sound. 

#36

Third
The Soft Machine

A review by AtomicCrimsonRush:

Soft Machine are experimental pioneers that fuse jazz with all sorts of styles to inject their own blend of progressive rock. “Third” is the third album for the band of course and it features 4 tracks of considerable length that originally took up the entire side of the vinyl double album. A challenge at first to listen to, the music tends to develop and even changes with every listen. The music may require some patience as the music moves unremorsefully from the whispered minimalism of a single instrument to the huge sound of sax, drums, guitars and keyboards, among others. When Soft Machine hit their stride they are excellent to listen to.

Robert Wyatt has a chance to shine with his vocals on 'Moon in June' the sleeper of the album and perhaps one of the highlights of Soft Machine. Indeed the track is found on most 'best of SM' compilations. Wyatt does a terrific vocal on this album, as good as his solo efforts on 'Comicopera' in fact, recorded many years later. 'Moon in June' is simply brilliant on every level. The lyrics are actually Wyatt's improvisations, as if his voice was just another instrument, and are worth looking at in detail; “Oh, but I miss the rain, tickytackyticky And I wish that I were home again, Living is easy here in New York State oh, but I wish that I were home again, Just before we go on to the next part of our song Let's all make sure we've got the time, Musicmaking still performs the normal functions background noise for people scheming, seducing, revolting and teaching That's all right by me, don't think that I'm complaining After all, it's only leisure time, isn't it?”

‘Out Bloody Rageous’ is free form jazz that lacks structure, and is therefore very inaccessible. Soft Machine took risks and were trying to achieve a new form of music and are undoubtedly pioneers of the craft. The album is a milestone of improvisational jazz fusion and orchestration. 

A review by Sean Trane:

(third of a series of eleven)

The masterpiece (or meisterwerk) from this band and the first one to start the slow but implacable and mercyless progression/transformation of a psychedelic caterpillar into a superb fusion butterfly. Only four tracks (one per side as this was a double vinyl) but what tracks they are.

Only one track with vocals (Moon In June.... from memory) but they are wordless as Wyatt has learned to use his incredible voice as another instrument. The Out Bloody Rageous tune is my fave on here and Facelift is the first real influence of Hopper in this group. Slightlly All The Time is also a gem. The band is becoming much a reed (or brass) oriented Jazz-rock as Elton Dean joins as official member and for a few weeks ,"ex- Keith Tippet Group" Charig and Evans had joined too but this was not to last. Please not that all these reed players were extremely active on the prog scene also playing in Crimson albums as well as in Centipede's lone album Septober Energy. However Charig and Evans will come back for later albums as guests. The four tracks are full of very successful improvisation but the structure is definitely progressive.

If you are looking to indulge in a Canterbury-styled album, this astounding album is much recommended but maybe not the most representative of that musical current: you might want to try Hatfield & the North. 

#37

Trespass
Genesis

A review by AtomicCrimsonRush:

"Trespass" is the first album from Genesis since they parted with Jonathan King and Decca labels to pursue a more distinct sound, that of the 'pastoral English idyll'. The album features some of the first use of Multi-tracked 12-string acoustic guitars that are blended with folky vocal harmonies, quiet flute, acoustic piano, and gentle keyboard pads on the Hammond and mellotron. It begins with an isolated secluded atmosphere in the form of 'Looking For Someone' that is certainly not a sound the band would return to on subsequent albums. Anthony Phillips holds back on guitar preferring an acoustic approach, John Mayhew gently touched his drums, Peter Gabriel is quiet and calm, Mike Rutherford maintains simple basslines, Tony Banks prefers a subtle keyboard motif - all this of course is transformed into glorious prog chaos on the last track.

'White Mountain' is a Gabriel driven storytelling work with lyrics that would typify the Gabriel-era Genesis; "Thin hung the web like a trap in a cage, The fox lay asleep in his lair. Fangs frantic paws told the tale of his sin, Far off the chase shrieked revenge. Outcast he trespassed where no wolf may tread, The last sacred haunt of the dead. He learnt of a truth which only one wolf may know, The sceptre and crown of a king. Howling for blood, one-eye leads on the pack, Plunging through forest and snowstorm." Gabriel was perhaps inspired by Rudyard Kipling in this quirky tale of two wolves battling for a mystical crown.

'Visions of Angels' is a softer track with some staccato moments and grinding organ and angel harmonies. The softer moments of the track are almost like a fairy tale and then there is a darker razor edge to the music with some ethereal piano and mellotron. The flute lends it's folky pastoral quality to the piece. Gabriel has a phased effect on his voice in one section, but he is master of the storyteller style and once again he dominates the track: "Visions of angels all around, Dance in the sky, Leaving me here, Forever goodbye."

'Stagnation' is acoustically driven and has a soft Gabriel vocal and a lilting melody with a folk soaked passage of estranged lyrics and atmospherics. The guitar is well executed here and a chiming keyboard adds a mystical quality with descending shapes and chilling notes pulled down the scale almost ghostly. The other worldly sound builds with an electrifying instrumental passage capitalising on organ and a quick tempo beat with basslines and drums adding the metrical pattern. The flute shines on this when Gabriel sings gently: "Wait, there still is time for washing in the pool, Wash away the past. Moon, my long-lost friend is smiling from above, Smiling at my tears. Come we’ll walk the path to take us to my home, Keep outside the night. The ice-cold knife has come to decorate the dead, Somehow. And each will find a home, And there will still be time, For loving my friend, you are there..." Gabriel ad libs to end this, "I want a drink, I want a drink, To wash out the filth that is deep in my guts, I want a drink."  

'Dusk' is a very gentle calming track with some strange harmonies that remind one of early Pink Floyd or The Moody Blues. The lyrics are as whimsical as ever; "Once Jesus suffered, Heaven could not see him. And now my ship is sinking, The captain stands alone. A pawn on a chessboard, A false move by God will now destroy me, But wait, on the horizon, A new dawn seems to be rising, Never to recall this passerby, born to die."

'The Knife' is the most famous track on the album beginning with a staccato Hammond worthy of Emerson and in fact Keith was impressed with the sound and let the band know it. Gabriel was quite attracted with The Nice and the song 'Rondo' and in trying to capture this sound came up with a track that would typify the Genesis sound on their next album "Nursery Cryme". The Hammond and one note fuzz bass intro this excellent prog exploration. The lyrics are a real point of interest and Gabriel frighteningly sneers his way through them with utter conviction; "Stand up and fight, for you know we are right, We will strike at the lies, That have spread like disease through our minds. Soon we'll have won and we'll treasure this worth, With our winnings and kindness To all who our love now deserve, Some of you are going to die, Martyrs, of course, to the freedom I will provide." The song's lyrics focus on Gabriel's reflections on violent revolutions, and the lyrics determine to explore how those who use violence all in the name of freedom are often the ones who actually establish their own dictatorship. A fuzzed electric guitar is heard with Rutherford's fuzz bass, an off kilter chord structure, and phased vocals chant with a tape loop of screaming and voices, the birth pangs of prog are right here. The dynamic nuances are augmented by psychotic lyrics; "I'll give you the names of those you must kill, Then have all burned and quickly, Cover them up in Trafalgar square, Hurry to see, you'll see them dead In this ugly world, Ready to fight for your freedom, Now, when I give a word, Hang 'em on high, let the blood flow..." The disturbing lyrics are enhanced by massive stabs of Hammond and gut wrenching guitar riffs but the fuzz bass is so entrenched upon the sound that it is as heavy as the band would get.

The knife stabbed in the album cover signifies that the band are slicing their ties with commercialism and dragging across a blade to usher in a new progressive sound that would become symphonic prog. It is interesting to note that the album cover has a pastoral feel with religious overtones, a couple stare lovingly out the arch toward the distant horizon and a cupid creature dances merrily in the foreground, but the knife stabbed in the back gatefold is like the stab in the heart of the pastoral idyll, the way 'The Knife' stabs in at the end of the album, infiltrating the quiet atmosphere, almost tacked on as an afterthought is intriguing; it is one thing to swim against the flow but here the goldfish has jumped out of the bowl. Overall, the album is a genuine curio showing the birth of a band that is ready to catapult into the progosphere with their next adventure, the awesome "Nursery Cryme".

#38

Abraxas
Santana

A review by Mellotron Storm:

This was SANTANA's commercial breakthrough album from 1970 thanks in large part to their biggest hit "Black Magic Woman".Interesting that when they were recording this album Peter Green who was then with FLEETWOOD MAC was hanging out with them in the studio. He had this song he wrote called "Black Magic Woman" that his band didn't seem to want to play, in fact it took a year of pestering them before FLEETWOOD MAC finally recorded it for their "English Rose" album in 1969. He really wanted SANTANA to record it, and they obliged and adopted it as their own, and yes the rest is history. As SANTANA went into the studio to record this second album the most important thing for them was for the sound quality to be better than the debut. So they hired a producer (Fred Catero) whose albums were known for the quality of sound. 

"Singing Winds, Crying Beasts" is such a good opener with the atmosphere and piano early.The guitar makes some noise before a beat kicks in at 1 1/2 minutes as the atmosphere continues. "Black Magic Woman/Gypsy Queen" needs no introduction. The guitar leads early, then piano as percussion continues. Vocals join in, and the bass is prominent throughout. I love the second part of "Gypsy Queen" with the guitar out in front.

"Oye Como Va" was the other big hit from this record.The organ pulses with bass and percussion as guitar joins in. Vocals follow in this catchy tune. "Incident At Neshabur" is uptempo with percussion, organ and piano standing out. Guitar 2 minutes in then it settles right down a minute later. It picks up again with piano before a calm to end it. "Se A Cabo" opens with percussion as organ and guitar join in. Vocals and piano 2 minutes. 

"Mother's Daughter" sounds great when it kicks in with guitar. Vocals around a minute. The guitar is lighting it up after 3 1/2 minutes to end it. "Samba Pa Ti" is a beautiful instrumental with percussion and guitar. Bass and organ arrive after 1 1/2 minutes then the tempo proceeds to pick up. "Hope You’re Feeling Better" is a catchy track that opens with organ then a full sound. Vocals too, and I love the guitar. "El Nicoya" is a short tune with percussion and vocal expressions. I can't say enough good things about this album.The mood they create just draws me in. And yes it's 1970 one of my favourite years.

A review by dreadpirateroberts:

“Abraxas" pretty much leaves a great debut for dead, as Santana deliver a classic follow-up. 

I imagine it's hard for a reader's eyes not to glaze over at the word 'classic' but the album is a classic; it's aged well, it was an artistic and commercial success at its time, it developed a genre and cemented the careers of many musicians. And last but not least, it's perfect music for summer, just play it on a hot day with your windows down and see. (And it has great sleeve art too, provided by the late Mati Klarwein who was, of course, also well-known for the "Bitches Brew" cover.)

To the music within. Jazz really starts to creep in to the songs on this album, with more adventurous arrangements and that undeniable Latin-sound getting expanded via fuller percussion, additional overdubs and a warm production. Santana's guitar tone and style is still psych-influenced but he's also subtler and more relaxed perhaps, despite the pressure on the band to capitalise on the success of Woodstock and "Santana". Lead singer and organist Rolie remembers it being less than easy: "for me it was the complete opposite. It was like: okay, now we really got to prove we can really do this. We had three years to develop all that music [from the first album]. And we had to do the next one WITHIN a year."

Well something clicked and they produced the goods. There isn't a dull moment on "Abraxas" even if 'Mother's Daughter' doesn't match the rest of the material. Shrieve is as vital to the sound as Rolie's B3 but the real highpoint are the compositions. Aided by a smooth version of Puente's 'Oye Como Va' and a fantastic reworking of Fleetwood Mac's 'Black Magic Woman' the band scored two hits, weaving their undeniable pop appeal around jazzier outings.

One of which - 'Incident at Neshabur' - being a song that shifts between moods and tempos and allows Santana to wring notes from his guitar with almost the same intensity he manages in 'Samba Pa Ti.' In this piece he starts out gentle and the whole band allow the song to build slowly, creating a near five minute summation of everything enjoyable about Carlos' at his most thoughtful. Other songs like 'Se a Cabo' continue the Latin theme complete with a little chanting in Spanish, while the third single released from "Abraxas" 'Hope You're Feeling Better' brings the biggest rock moments on the album, wah adding to a great signature riff.

This one's a record that makes you want to hear more, and one that was vital to the band's future, both in terms of creative direction and success. Four stars.

#39

Lizard
King Crimson

A review by AtomicCrimsonRush:

King Crimson's album of quirky chaotic jazz and symphonic virtuosity, "Lizard", has become a classic 70s prog album over the years with a drawing power unmatched in early prog history. It begins with an astounding ominous chord structure on 'Entry of the Chameleons', that later became ‘Entry of the Crims’ for when the band took to the stage in live performances. It features the massive doomy atmospheres of Fripp's angular guitar riff and a huge sense of theatrical flair in the structure. The vocals are well handled by Haskell who sounds a bit like Lake.

'Indoor Games' has a whimsical flavour with some nice sax and guitar interplay and it ends on a manic laugh. 'Happy Family' cruises along at a nice pace with intricate time sigs and well orchestrated musicianship. The exuberance in the music is infectious. The band have fun but are able to produce music of immeasurable quality and dexterity. The content of the song is based on The Beatles' breakup; "Happy family, one hand clap, four went by and none came back". Side one ends with the acoustic ballad 'Lady of the Dancing Water' with Haskell very pleasant on vocals.

The side two epic is what gives this album it's huge reputation. It clocks in at a 22:24 running time and features many sections forming one orchestral suite moving through a range of moods and time changes. The lulling high octave vocals by Yes' Jon Anderson on 'Prince Rupert Awakes' is a nice touch as is the beautiful flute on 'Bolero the Peacock's Tale'. The exquisite tones of the woodwind solos are pleasant and they are joined by a brass band sound including sensuous saxophones. The brass instruments strike off each other playfully, as an impatient piano bangs out staccato chords ready to take over. The instruments of piano, trombone, cornet and oboe compete for a while and then the piano gives up as the sweet tones of Collins' saxophone and the oboe take the spotlight. The orchestration is really as good as it gets, with an interplay of virtuoso musicianship. It builds to a crescendo and then breaks as a lone sax wails mournfully in the silence.

'The Battle of Glass Tears' begins with 'Dawn Song' and Haskell's low baritone vocals begin. Suddenly a cataclysm of sound breaks through the clouds, a mellotron sweeping and majestic with sporadic jazz percussion by McCulloch. The heavy sax and trilling lute trade off beautifully. Then a lengthy ominous sax and off beat percussive rhythm ensues with atonal dissonance and asymmetrical figures. This is 'The Last Skirmish' which is more reminiscent of the chaotic side of King Crimson on such albums as "Lark's Tongues in Aspic" or "Red" yet to come and stun the world. The dramatic atmosphere settles into an ambient mellotron with sporadic piano runs as 'The Big Top' begins and it spirals off speeding up absurdly till it concludes the album.

"Lizard" is certainly another classic for King Crimson in an era when they were at the height of their creative power. It is not to be missed by Crimsonites or those who love innovative virtuosic symphonic prog.

#40

We'll Talk About It Later
Nucleus

A review by Mellotron Storm:

Jazz/Fusion at it's best! As the bio reveals, around ten members of NUCLEUS had left this band over the years to join SOFT MACHINE. Although NUCLEUS may not have made it commercially, they certainly created some of the best music I've ever heard.This album is my favourite from the band, and maybe not surprisingly it reminds me of Miles Davis a lot. This is NUCLEUS' second album and it's the same lineup from the debut. The songs here are much longer than what the debut offered up, and Jenkins is the prime song writer. I have to tell you that this album is absolutely incredible. If you’re into Miles Davis you need to check this one out. 

The first song "Song For The Bearded Lady" opens with horns followed by a full sound. Check out the guitar playing with the bass and drums as horns play over top. Great sound! I like when it settles before 2 minutes and Carr comes in sounding like Miles. The trumpet stops after 4 minutes but it still sounds amazing. Chunky bass and ever-present drums as the guitar not only lights it up but also gives us that wah-wah effect. Horns are back late to end it. "Sun Child" was written by Marshall and Clyne so expect some great bass and drumming here. The bass is fat while the horns are anything but melodic at times. Nice. Man, I could listen to this all day. Marshall is so impressive here. Check out the guitar too! Fantastic tune! It settles some after 4 minutes but this is so good! 

"Lullaby For A Lonely Child" features some atmosphere with lots of room for the instruments to breathe. Some bouzouki from Spedding as well. A mellow track. "We'll Talk About it Later" is another highlight. Dark and atmospheric with bass and guitar taking their time. It starts to build 1 1/2 minutes in. Amazing sound! Horns after 2 1/2 minutes sound so good. Check out Marshall a minute later.This is mind expanding music, man. Killer track! 

"Oasis" opens with cymbals, piano, aboe and smooth horns. This reminds me of WEATHER REPORT actually. The tempo picks up before 2 minutes. Nice bass as smooth horns continue. This is pleasant and enjoyable. The song starts to get more aggressive as the horns play over top. It settles back after 5 1/2 minutes. Aboe comes in late and leads. "Ballad Of Joe Pimp" is a very different song from the rest. It's a dark tune with lots of bottom end and vocals. Excellent tune. The last song "Easter 1916" also has vocals, although they are more words then singing. The sax, drum interplay is absolutely amazing in this song. The melancholic horns early are a reprise from "1916" (debut album). A must for fans of SOFT MACHINE and Miles Davis.

 #41

Bitches Brew
Miles Davis

A review by AtomicCrimsonRush:

This album is an innovative example of jazz rock at it's most experimental, with wild flourishes of African drum beats and crazy trumpet solos. At times it is Santana meets Osibisa. There is no doubt that the fusion on this is inspirational and a Milestone. It is heavily reliant on congas and percussion and has become an early 70s icon. Even the bizarre enigmatic cover illustration has become part of early prog folklore.

There is no real compositional structure from track to track though perhaps that is the appeal of the album; the improvisational feel is hard core fusion and the mood is always darkened by the competing instruments and non synchronic metrical patterns. As a double album it was groundbreaking for jazz rock, repeating motifs and non variations of funkadelic grooves that simply lock in. The instrumentation of bass clarinet and tenor saxophone is marvellous and the real drawcard for subsequent listens, along with Davis' trumpet brilliance.

Highlights include the 27 minute ‘Bitches Brew’, and ‘Spanish Key’ at 17:34. The music requires patience as it builds very slowly, with random blasts of trumpet and dissonant chords that jolt constantly. “Bitches Brew” is an interesting curio that stands alone in the extensive Davis catalogue.

A review by Conor Fynes:

Held as one of the most celebrated works of one of the most celebrated artists of our time, Miles Davis' 'Bitches Brew' is a work of art that will never be forgotten for as long as jazz is around. Regardless of individual opinion, the album's status as a classic is now established as a fact. Looking past the masterful ensemble performances standard of Davis' recordings, 'Bitches Brew' holds a very influential place in the world of jazz. Although the previous work 'In A Silent Way' helped outline the fundaments of the then-revolutionary 'fusion' style, it was here where Miles Davis nailed down the elements and proved that 'Silent' was not just a one-off experiment. We have here, a sprawling double album, a work heavy on improvisation and subtle performance. The loose nature of 'Bitches Brew' may keep some listeners from connecting with it on an emotional level, but the sheer skill and chemistry of Davis' company is more than enough to plant the album as one of jazz' most enduring recordings.

Particularly on the first half of this journey, the music of 'Bitches Brew' is divided between urbane improvisations, and more collected passages. The most evidently composed sections of 'Bitches Brew' are actually the most challenging. They rarely evoke 'themes', but rather pursue a sense of subtle atmosphere. 'Pharaoh's Dance' and 'Bitches Brew' both feature sections where the band softens up, and a moody atmosphere takes over. Although jazz is usually not a style of music that I find atmospheric in an emotional sense, Davis incorporates very eerie, even creepy moments into the jams. Not only does it help break up the longwinded nature of the music, but it also adds a jarring element to the music that may not have been so evident otherwise. This atmospheric tension would be elaborated upon in later works of his, such as 'Aura'. Here however, they are a relatively minor aspect of the music, but they're fiendishly effective.

Perhaps more than any other form of modern music, the potential for success in jazz music lies in the playing skill of the musicians themselves, even overriding composition. Miles Davis' sense of direction definitely leans towards an apocalyptic and ever-jarring feel, but his greatest accomplishment here is being able to draw together talent meshes. Some of the era's greatest jazz icons are here to perform, including future Mahavishnu Orchestra guitarist John McLaughlin, Chick Corea, and saxophonist Wayne Shorter. Many of these instruments have been 'electrified', in the sense that the sound is no longer purely organic, but amped up and often modified. The electric piano is the most notable fusion element here, almost perpetually backing up the soloists with challenging chord progressions and tight flourishes. The aptly titled 'John McLaughin' may be the most fusion-heavy track on the album, focusing on the eponymous guitarist's inventive guitar explorations. As the album's shortest piece, it is also the best put together, and a bit of a refreshment from the indulgent jams that usually dominate 'Bitches Brew'. Indeed, the length is the most challenging aspect of the album, and like so many albums that seek to break the double-length barrier, I will say that the same message could have been conveyed with less time. Of course, Miles Davis and company aren't rushing to get anywhere here. Instead, they are taking a few themes, and going wherever the music takes them. Some listeners may find themselves wanting a more dynamic composition, but the performance lends more than enough subtlety to engage a listener fully. 'Bitches Brew' may lack the timeless hooks of his top tier work, but his performance talent is as clear as ever.

A review by dreadpirateroberts:

MILES DAVIS - Bitches brew

‘Bitches Brew' is one of those albums that attracts all kinds of adjectives, mostly ones like 'revolutionary' and 'ground-breaking' but it also brings to mind words like 'dense' and 'meandering.'

In terms of its impact on genres, critics and more importantly, players - it is mammoth. But in some ways it's also a very logical step forward from 'In a Silent Way.' Here that sound is built upon and complicated, in a release that ruffled more than a few feathers in the jazz world at the time of its release.

From the composing credits and the 'wing-it' approach he favoured on 'Bitches Brew,' it's clear this is still very much a Davis album. However, not for the first or last time, Teo Macero plays a part, that of 'assembler.' Making a range of subtle edits throughout the long improvisations and jams that make up much of the material, his role shouldn't be overlooked, and rarely is nowadays.

I first came across 'Bitches Brew' in conversation with a friend over a game of pool, we were barely eighteen and Led Zeppelin my favourite band - jazz was an unknown world. My friend was obsessed with finding it when we went to a store, and when he did, the cover art caught my eye but I didn't get to hear it myself until a few years later when I'd already been given 'Kind of Blue,' 'The Birth of the Cool' and 'Round About Midnight.' It was hard for my rock-brain to get it at first, though I recall loving 'Round Midnight' right away. And I eventually got there. Months later and I remembered 'Bitches Brew' and one summer night of considerable stuffiness, when I'd finally purchased it, I put the headphones on and played the opening to 'Bitches Brew' and it stunned me.

It was alive in a brooding way, as if the music itself were totally uncomfortable and had to move. It heaved itself, shambling and sharp, across my mind and made me look around in the dark while I typed away at my work. (It's still one of the most eerie albums I've ever heard.) Miles was an echoing ghost and his high notes were relentless, while the jangling guitar of McLaughlin was sliding in and out of my consciousness, and the twin drum kits pummelled away and odd sounds seemed to creep out of every available space. Perhaps what made it so revolutionary on a personal level was it helped force me to take a step outside of Miles and look for other artists, as back then I used to be much slower to look outside my comfort range - and much poorer to afford to do so!

The key shortcoming of the album seems clear. With such a large cast, it's messy at times, and some of the pieces drag, especially if you've never heard the music before. With so many instruments needing to have a voice, it is dense. Part of it's joy is that density, for without it, 'Bitches Brew' may not be anywhere near as lasting. You have to dig in to repeated listens to get the most from it and the lumbering feel to this giant isn't cut by as many tempo changes as perhaps it could be. A lot of time is spent simply exploring, testing. It almost sounds live, and again, this isn't always a bad thing. On 'Miles Runs the Voodoo Down' for instance, it works wonderfully, whereas the title track covers a fair amount of similar ground in its wandering.

For anyone interested in the youth of Jazz Rock Fusion, and the point where it exploded into the public consciousness, then 'Bitches Brew' is a must. Miles Davis fans who may have steered clear of this album for whatever reason, will find a confident Miles in regards to vision, if not composition - if indeed such a word can be used to describe the thickets of music within. Four stars.

#42

The Polite Force
Egg

A review by Mellotron Storm:

EGG were made up of Dave Stewart, Mont Campell and Clive Brooks.The three had been part of another band previous to this called ARZACHEL, along with Steve Hillage. That band was very psychedelic, and that sort of explains where the song "Boilik" came from, as it seems to have nothing to do with the rest of the album. Stewart would hook up again with Hillage in a band called KHAN after this release. He would also play again with Mont Campbell in the band NATIONAL HEALTH. 

This album starts off with "A Visit To Newport Hospital" a wonderful track that contrasts Stewart's heavy organ (at the start, and at the end of the song) with the main section that is bright and catchy with reserved vocals from Campbell. Great tune! 

"Contrasong" features a guest four piece horn section of sax and trumpet. The bass is prominent 2 minutes in along with horns and organ. Vocals are back after 3 minutes. "Boilik" is the experimental and psychedelic track. There is the sound of water being poured down a drain? Anyway, we get different strange sounds coming and going, with some mellotron early and lots of electronics. We finally get a melody 8 minutes in as Stewart plays some organ. A very Psychedelic tune. 

"Long Piece No.3." is made up of 4 parts. Part one is lead by the organ and drums. Part two is a highlight for me along with the first song. It has a catchy sound of organ and drums before it stops and some spacey sounds arrive. The original melody slowly comes back in this one. Part three has lots of tempo changes and some fuzz organ before 2 minutes. There is a heavier sound before 4 minutes. The final part is an uptempo passage. I laughed when I read where someone called the Canterbury genre an inbred genre. It does seem like most of the bands are connected somehow. I find that kind of cool actually, trying to connect the dots. This is a must-have for Canterbury fans.

#43

The Least We Can Do Is Wave To Each Other
Van Der Graaf Generator

A review by AtomicCrimsonRush:

Unfriendly music that is dark and foreboding, Van der Graaf Generator's “The Least We Can Do Is Wave To Each Other” is another of the early albums of the 70s that relies heavily on experimental, improvisational techniques and complex song structures.

'Darkness 11/11' starts with a wonderful brooding, throb that pulsates before Hammill interjects with a quiet soft delivery, "Day dawns dark, it now numbers infinity..." It is Potter's bass that really shines on this track, and it is complimented by Banton's estranged keyboards, and an excellent saxophone by Jackson. All the mayhem is held together by Evans who drums in jaded rhythm patterns that somehow add to the gloom and sense of dread, "Don't blame me please, for the fate that falls, I did not choose it."

'Refugees' relies heavily on keyboards, mellotron and is an ode to passing friendships, namely Hammill's long lost friends and flatmates, Susan Penhaligon who was an actress in the 70s, and classical musician Michael Brand. After this relative calm VDGG launch into 'White Hammer', about the torture of witches in 1486. It is rather ambient in places, but the final piece segues into a heavy handed Hammond and saxophone break that really sounds off kilter to the max. It's about as weird and unfriendly as the band could get and has a chilling after effect. The track begins to gain momentum and is suddenly silenced.

'Whatever would Robert Have Said' is an underrated classic of VDGG, and improves on each listen. It features all the aspects of prog from jagged riffs to symbolic lyrics that reference the Van der Graaf Generator scientific instrument, that causes the hair to stand on end using electric pulses, "Flame sucks between the balls of steel, nothing moves, the air itself congeals."

'Out of my Book' is one of the more pensive, reflective tracks of the band, in a similar style to much of “Still Life”, and seems to be the calm before the storm. The storm is 'After the Flood', which is the perfect way to end the album. It's another mini epic that moves from sublime quietness to freaky outbursts of musical estrangement. When Hammill screams "Total Annihilation!" he sounds like a Dalek exterminating those who stand in the way. The saxophone takes on a morbid feel that is punctuated by drums and bass. Hammill ends with contemplative vocals, "When the water falls again, all is dead and nobody lives", and we believe him, such is the overriding and chilling conviction in his delivery.

“Wave” is another excellent album overall and features an interesting bonus track 'Boat of Millions of Years' which certainly is worth a listen, as is the edited 'Refugees'. The album showcases these musical pioneers and boundary pushing visionaries' impact upon the rock world.

A review by Warthur:

 The first true VdGG album is an incredible performance from the band, which if there were any justice would have propelled them to the front rank of the nascent prog scene just as King Crimson's debut did them. If I had to pick out three albums to represent the end of the 1969s and illustrate the cultural shift from the optimistic and (arguably) naive views of the hippy generation to the darker and more foreboding tones of the 1970s, I'd pick out Let It Bleed by the Rolling Stones, the first Black Sabbath album, and this one.

I defy anyone to listen to the opening track, Darkness 11/11, and not have the hairs stand up on the back of their neck as the song begins. Guy Evans and Nic Potter establish a foreboding, marching rhythm, Hugh Banton's keys whisper of supernatural forces gathering, and Hammill's vocals begin as whispering rumours and rise to bellowed prophecies of utter destruction. David Jackson's blaring saxophones sound like the last trump and band gets into full swing. Hammill's lyrical subject matter over the rest of the album ranges from refugees escaping the end of their former life to benevolent magic standing tall against evil forces until we get to After the Flood and the gradual lowering of the floodwaters unleashed at the start of the album. In each case the band as a whole devote themselves entirely to realising Hammill's visions in musical form; Refugees in particular has an eerie beauty to it which places it in the front rank of the band's output. A truly remarkable debut, particularly considering the rapid growth evident in Hammill's songwriting, and genuinely sounding like nothing that preceded it. If this doesn't deserve five stars, nothing does.

#44

Yeti
Amon Düül II

A review by Mellotron Storm:

I'm not sure about the cover, but it looks like a guy in a dress with a sickle in his hands. Anyway it's the music that counts right? This was released as a double album in 1970. The first album having more structured songs, while the second one consisted of improvisations. Eroc from GROBSCHNITT remastered this recording.The second album is what blows me away and bumps this up to 5 stars. "Soap Shop Rock" is almost 14 minutes long and is divided into four parts.There is a real 60's feel to the guitar sound on this track, even bringing Neil Young to mind. The vocals are dramatic at times. Some violin as male and female vocals join in. The male vocals get quite theatrical as violin comes back. The original melody returns to end the song. What a way to start the album! 

"She Came Through the Chimney" is a laid back tune with percussion, guitar and violin. This is a 3 minute instrumental. "Archangels Thunderbird" has more 60's sounding guitar that supply some riffs. I really like the vocals in this one, as well as the percussion and drums. Great tune! "Cerberus" is a really cool song with tambourine, bongos and guitar leading the way. The sound gets heavier with some good bass. "The Return Of Ruebezahl" has an Eastern sound to it. This is the shortest song on the record. 

"Eye-Shaking King" is a very psychedelic tune with crazy vocals. I love the guitar and bass in this one. The final song on the first album is called "Pale Gallery". It's a short, mind bending song that really prepares us for the improvs on the second album. The first of the improvs is called "Yeti", and it's over 18 minutes long. There are outbursts of various sounds as some screaming guitar gains our attention, some good bass too. After 5 minutes it's like the sun comes out for a minute. They then jam for a long time, then some atmospheric guitar plays and the bass is upfront. This song blends into another improv called "Yeti Talks To Yogi". Now i'm thinking that this probably isn't Yogi Bear, but with all the acid they did back then who really knows? This is so trippy. The highlight of this one for me is the drumming that starts to build 2 minutes in. 

"Sandoz In the Rain" is the final improv and it's a more delicate song with flute, acoustic guitar, light drums and violin. The vocals repeat "The sun drops in her eye". I really like this one. There are two bonus songs on my version. "Rattlesnakeplumcake", which has some incredible guitar melodies in it, and "Between the Eyes", a heavy tune with some crazy vocals. If you’re into Krautrock, this is a must! Highly recommended.

#45

Jesus Christ Superstar
Various Artists (Concept albums & Themed compilations)

A review by AtomicCrimsonRush:

One of the first prog rock operas is also one of the greatest with stirring vocal performances all round and stunning musicianship. It captures an early 70s sound and features some of the best vocalists at the time. Although there have been many versions over the years the 1970 version is the most progressive utilising prog artists and very progressive music. Murray Head is a fabulous presence as Judas Iscariot and the unmistakeable rasping vocals of Ian Gillan are incredible as Jesus Christ. Yvonne Elliman is beautiful as Mary Magdalene on songs such as the memorable melodic ‘Everything’s Alright’. Other artists featuring including Victor Brox as Caiaphas, Brian Keith as Annas, John Gustafson as Simon Zealotes, and Barry Dennen as Pontius Pilate. The appearance of Paul Raven, better known as glam rocker Gary Glitter, as the Priest is an iconic performance.

There is a story that is followed based on the Biblical gospels, where Jesus healed and taught the thousands and led his 12 disciples changing the world. The album captures some of the Bible and it climaxes with the trial of Christ and subsequent crucifixion. There are some fantastic performances throughout. The ‘Overture’ is majestic opener mixing orchestrating strings with prog rock time sig changes and riffing guitars. This along with ‘Heaven on their Minds’ is a titanic start with awesome guitar riffs, and powerhouse vocals from Murray Head. ‘Whats the buzz’ (“tell me what’s happening”) is a song about people wanting to know about the future. “Why should you want to know, why are you obsessed with fighting?” This is followed by ‘Strange Thing Happening’ which is a moderate song with eclectic heavy guitar and a strong progressive time change. The musical arrangements are compelling and there is never a dull moment on the album. ‘Simon Zealotes/Poor Jerusalem’ is a rocking brassy piece with accomplished harmonies in the chorus. It segues straight into the acoustically driven dreamy ‘Pilate’s Dream’. The Ian Gillan led ‘The Temple’ is a definitive highlight. There are many time sig shifts and Gillan screaming up a storm make this one to seek out for Deep Purple fans.  

One of the showstoppers is Elliman’s version of ‘I Don’t know How To Love Him’, a song which has become a stage standout every time the opera is performed. Andrew Lloyd Webber’s arrangement is nothing short of genius and he has made a name for himself with these types of rock operas. ‘Damned for all time’ features an excellent fuzz guitar intro and chiming flutes. It breaks into a fast tempo with tons of brass and Murray Head’s emotional vocals. Chris Mercer’s tenor sax on this is divine and the way that the time sig breaks with various parts montaging together to tell a potent part of the story on ‘Blood Money’. The music gets darker in this number segueing into the awesome powerful ‘The Last Supper’ where Judas betrays Jesus. Ian Gillan is towering on this and ‘Gethsemane ( I Only Want To Say)’, better than Ted Neeley replacing him in the movie version,  and he sings beautifully phrases such as “I want to know, why should I die, can you show me now that I should not be killed in vain, see how I die.” As Jesus contemplates this and weeps blood in the garden the Romans are on their way and Judas betrays Christ with a kiss. ‘The Arrest/ Peter’s Denial’ leads to the terrific duet between Gillan and Dennen on ‘Pilate and Christ’. The slow measured dramatic music is dominated by electric organ and woodwind. 

This is followed by a humorous piece sung by Mike d'Abo, the quasi-rocking 40s throwback ‘King Herod’s Song’. It sounds like the Chicago show tune ‘Mr Cellophane’ and features serious content but sung in a jester-like manner; “aren’t you scared of me Christ, mr. wonderful Christ, you’re a joke you’re not the Lord, take him away he’s got nothing to say, get out you king of the Jews.” This leads to the rock out guitar heavy ‘Judas Death, then the ominous ‘Trial Before Pilate (Including the 39 Lashes)’, the well known radio favourite ‘Superstar’ and finally the apocalyptic sounds of ‘Crucifixion’. ‘Superstar’ was famous and certainly is recognizable on all versions of the rock opera. The chorus have a commanding harmony and lift the music to a crescendo. It is a stirring song that has an infectious chorus. The closer of the album is ‘John 19:41’ which ends it on a powerful uplifting note. The scripture reference is Now in the place where he was crucified there was a garden; and in the garden a new sepulchre, wherein was never man yet laid – John 19:41.

This is an amazing rock opera akin to “Tommy” and never preaches but simply presents incredible music to the greatest story ever told.    

#46

Benefit
Jethro Tull

A review by AtomicCrimsonRush:

Ian Anderson was able to stretch his versatile creativity on “Benefit” and the production quality improved dramatically. He has an uproarious time on flute and acoustic guitar. Martin Barre is dynamic on lead guitar churning out one brilliant riff after another. Clive Bunker on percussion along with Glenn Cornick on bass provide the driving rhythm. This is perhaps the finest album with this line up. The guest musician John Evans provides a wonderful piano accompaniment. Anderson is excellent on flute and his vocals are full of theatricality and vigour.

Highlights include ‘With You There to Help Me’ with the flute and baritone vocals along with Barre’s wizardry on guitar. ‘To Cry You a Song’ became a Tull classic over the years with its powerful guitar and strong melodies, it drips with folk nuances and blues guitar. The heavy guitar work of Barre is a key element and he really gives it a work out on this master work. ‘Teacher’ is a beautiful song with frenetic flute playing and soulful vocals.

“Benefit” is definitely the beginning of greatness for Tull when the magic came together and it paved the way for the classic masterpieces to come.

A review by Ivan_Melgar_M:

A new decade had started and Jethro Tull's evolution was almost defined, the blues oriented "This Was" and the still jazzy but more eclectic "Stand Up" were left in the past, the band had found the progressive folk sound that was going to be their trademark until today.

Ian is perfect with his characteristic vocals and unique flute but the most important feature is the way he blends the soft acoustic guitar with Martin Barre's electric and aggressive instrument, creating a mixture between the countryside and the city that gently merge into the same atmosphere, simply perfect and totally different to the previous albums where acoustic and electric guitar seemed to be playing different melodies.

Also important is the addition of a powerful pianist as John Evan whose style is much more technical than David Palmer. It's important to notice that John Evan had already played with Ian Anderson in The Blades and John Evan Band, so it was easier for them to join again in Jethro Tull.

Not in the level of Aqualung or Thick as a Brick but Benefit is a well balanced album with no fillers that includes some masterpieces and tracks that will be part of Jethro Tull's repertoire in later gigs. My favorites from this album are:

"With You There to Help Me": This is the song that would introduce me to the Jethro Tull's world, still can remember the impression that made on me the contrast between the acute flute, Ian's low vocal tone and Barre's breathtaking chords. Some drastic changes that are softened by the characteristic flute make this song an underrated classic.

"Nothing to Say": The electric guitar introduction leads immediately to Ian's voice, a track that advances step by step to a peaceful development when the listener is expecting something more aggressive, but the beauty of the song is precisely that contradiction.

“To Cry You a Song": Another track that became a classic in Tull's concerts, probably the most eclectic song, folksy and soft but with some echoes of their blues past that suddenly changes with a frenetic guitar solo that is a pleasure for those who love the harder edge of Tull.

"Teacher": A very beautiful song where Ian's voice and Glen Cornick's bass make the difference along with the psychedelic keyboards and ultra fast flute, a true masterpiece.

"Sossity, You're a Woman" is the perfect closer a song which proves that Jethro Tull has also a classical side, the acoustic guitar soft but complex is simply delightful and the melodic flute that blends with the tune completes the scene.

Not yet the peak of Jethro Tull's creativity but already fantastic Benefit is a very solid album that deserves a special place in every collection. I know that other releases are more mature, but in my book this outstanding album deserves no less than 5 stars

#47

Magma (Kobaïa)
Magma

A review by AtomicCrimsonRush:

From the outset Magma unleash their unabashed iconic weirdness onto an unsuspecting listener with a double debut that has become famous. It is beautiful, trippy, ethereal, chilling and at times disturbing. There is a high quality musicianship with dollops of experimentation and wild leaps into fanciful Kobaian language; an alien language that does not exist.  

There are fathoms of beauty with scintillating flute on such tracks as ‘Sohaia’, ‘Thaud Zaia’  or sections of ‘Muh’ that may almost be mistaken for Ian Anderson’s style. The mesmirising beauty is encapsulated by lengthy gentle passages of woodwind and sax. These sections are cataclysmically broken with sharp jolts of guitar and the ever present percussion. Vander is a man possessed drumming manically on such brilliant pieces as ‘Muh’, ‘Kobaiah’ and ‘Aina’. There is a full blown jazz feel throughout the album and time changes that jar the senses. There is not as much choral singing or high soprano work as on subsequent albums.

There are the trademark Magmamoments of spine chilling terror such as on the ominous ‘Stoah’. Vander’s creepy screeching is unsettling and the ominous low drones on woodwind generate a sense of trepidation for the listener. Vander’s opera singing ensues and then crunching piano follows the melody. The sax enters the soundscape, often going off on its own tangent like a renegade instrument. 

The dissonant atonal "Sckxyss" is typical Magma that permeates all their albums, bizarre well sung vocals with theatrical dramatis personae coming from Vander, and very complex twisting musicianship.

On ‘Naü Ektila’ there is at first beauty and then the beast takes over. There is an outbreak cacophony of sound with all musicians blazing and colliding against any semblance of melody. The final track of the album is the insanity called ‘Müh’ and it chops and changes from ambience to out of control jazz. It slices around a strange metrical figure and then changes its mind to come blindly running into a wall of sax and a gun blast of guitar clashes.

So ends an incredible debut and it effectively set the scene for the Magmasterpiece albums to follow, and the legion of fans that would become enraptured with their unique brand of music.

#48

Burnt Weeny Sandwich
Frank Zappa

A review by AtomicCrimsonRush:

Frank Zappa’s “Burnt Weeny Sandwich” features lengthy flute sections and some mesmirising beauty on organ. Zappa plays multi instruments such as organ, and guitar, and is joined by the accomplished Don Preston on bass and piano, as well as Jimmy Carl Black on drums. The excellent guitar embellishments are courteousy of Lowell George, and the basslines of Roy Estrada are rhythmic augmenting the sound. There are others involved in this polished craftsmanship such as Gabby Furggy on vocals and Zappa stalwart virtuoso Ian Underwood on keyboards and guitar. The brass section of Bunk Gardner’s horns and woodwind lend a truly majestic ethereal quality, and these are backed by Don "Sugarcane" Harris’s violins. Together this band is able to create a compelling sound and one that is unique in the extensive catalogue of Zappa related projects.

The album is mainly instrumental and at times the jam sessions hook into a hypnotic groove that entrance the listener. The trademark doo wop style is there as usual, and the music ranges from neo-classical to straight out rock. Highlights include ‘WPLJ’, ‘Holiday in Berlin’, ‘Full Blown’ and the epic ‘Little House I Used to Live In’. Overall the album is an enjoyable listen showcasing the virtuoso musicianship of the Mothers of Invention. The tracks blend together and come across as one seamless work of art. Zappa is notorious for chatting to the crowd and this is no exception as he backchats an audience member who complains about the soldiers in the arena; Zappa retorts "Don't fool yourself, everybody in this room is wearing a uniform." This is another solid album for Zappa in a period where prog music was becoming defined and formulated.

A review by Sean Trane:

One hot the last Mothers album before Frank decided to try it alone with Hot Rats and the very successful and more instrumental series of albums, although this one is already a fine change or departure from the previous senseless insanities of double Mothers albums like 200 Motels and Uncle Meat.

An album that's often been (wrongly, IMHO) linked with Uncle Meat (probably due to the carnal artworks and titles), BWS doesn't start very well with that dumb doo-wop-like WPLJ tune, but from the very next track the album veers into a fantastic instrumental Overture/Theme BWS book-ended by the short Igor's Boogie pieces where the music alternates between modern classical and klezmer to jazz-rock. Then we get the Holiday In Berlin track where we'd gotten a theme preview with the previous Overture, where the semi-grotesque Oktoberfest-like music dominates at first, then leading into another fine jazz-rock instrumental, soon segueing in Aybe Sea (ABC), which is another good instrumental filled with Underwood's piano.

The flipside is mainly occupied by the lengthy Little House I Used To Live In, lasting almost 19-mins, which opens with a piano-dominated intro (Underwood again), before the piece- proper jumps into a wild instrumental passage that features a solid violin solo, care of Sugar Cane Harris (although I'd have preferred Ponty's intervention, but this is nitpicking), but not before Frank's outstanding guitar outing and Preston finishes the job on piano. The closing Valarie is a classically-inspired track that starts pastoral and acoustic but veers rockier and chaotic. The ensuing live track starts doo-wop-ish on a parody of or pastiche of Barbara-Ann.

Clearly one of the early line-up Mothers' best albums with Weasels, Burnt Weeny Sandwich is better compared to Rats, Chunga and the likes and if it didn't start so catastrophically, it could compare even more favourably.