VARIOUS GENRES

A tribute .. but not just any .. With Martin Barre already it speaks .. With a heavy return for the continuation .. think so ... vinnie Moore, Jordan Rudess, with Pat mastelotto and kasim of UTOPIA for a slow captivating derivation ... The keyboard which overwhelms yes one cannot remain insensitive, the guitar solo which spurts higher ... With an explosive pigs .. think James Labrie, Al Di meola ouh là là, Joe Bouchard of the BLUE OYSTER CULT, Billy Cobham of the MAHAVISHNU ORCHESTRA, a group that I reviewed no later than last week. And Patrick Moraz famous for having been keyboardist for YES .. and later for the MOODY BLUES since before it was mainly in the jazzy movement that he worked .. With the great, the illustrious Arthur Brown .. the legendary 'fire' ... Accompanied by Rick Wakeman quite simply. Let's mention Jan from FOCUS and Carmine Appice for a completely crazy cover that is a pleasure to hear.. what, you haven't started listening yet?? With Jon Davison accompanied by Billy Sherwood for the nostalgic finale before being bucolic.. A tribute album above all to remind us that good rock is always present in our heads. In short, a good time revisited!!! (3.75)

— First review of this album —

GOOD NEWS FROM SPAIN!

Label info: "Second instalment of this ambitious collection dedicated to progressive rock and similar music from our country, spanning from the 70s to the present. The presentation continues to follow an aesthetic line in line with these musics, following design parameters that will allow them all to be collected in an artistic and staggered way. This volume of "Progressive Rock Side Of Five Moons" has been meticulously studied to explore the deepest and least known facets of progressive rock in Spain. From historic recordings to never-before-released tracks from iconic and emerging bands, this collection is designed not only to capture the attention of die-hard fans, but also to attract new listeners within the international scene. It is a team effort with great production and research." In comparison with Volume 1 this second Spanish prog compilation features less bands but longer tracks. And as with Volume 1 I am not familiar with most of the bands, here on Volume 2 I only know Scaladei, Rivendel and the excellent formation Senogul (I love their debut CD entitled Transitos).

Again variety rules on this second Spanish prog compilation.

Classical overtones with swirling Hammond organ and powerful flute traverse by Isthar. An electronic atmosphere by Senogul (with sequencing and fat synthesizer flights) and Hypokheimenon (atmospheric with beeps and bleeps and soaring keyboards). Neo-Prog with moving guitar and a sumptuous conclusion by Scaladei. A bluesy climate with intense guitar and dreamy vocals, topped with the unsurpassed Mellotron by Fire Moon. An early 70s sound by Mucho Mungo (with fiery guitar and a propulsive rhythm-section) and Astrovudú (dynamic up- tempo with howling guitar and thunderous drums, embellished with exciting duo guitar play).

The other bands are Gato Gótico (slow rhythm with brass, in a sultry atmosphere), Rivendel (first mellow with dreamy vocals and delicate Mellotron flute, then halfway a sumptuous outburst with howling guitar runs), Kant Freud Kafka (dreamy piano, duo vocals) and Teclados Fritos - which means 'fried keyboards', haha - featuring a swinging rhythm, powerful guitar and a dynamic rhythm-section.

My rating: 3,5 star.

If you want to discover the lesser - and unknown Spanish prog this is an interesting project to discover, like other interesting bands from this Spanish prog label (old and new): Atila, Storm, Croma, Montoro, Randy Lopez, Sherish, Vandalus, Varekai, Qamar, Mantra ... yes, a world to discover Prog Archives progheads!

— First review of this album —

GOOD NEWS FROM SPAIN!

Label info: "First volume of the collection with which 5 Lunas has set out to show the general public and especially abroad the progressive rock that has been and is being made in our country with established bands and other more unreleased ones from all over Spain. This volume of «Progressive Rock Side Of Five Moons» has been meticulously studied to explore the deepest and least known facets of progressive rock in Spain. From historical recordings to never-before-released tracks from iconic and emerging bands, this collection is designed not only to capture the attention of die-hard fans, but also to attract new listeners within the international scene." Well, for me as an aficionado of Spanish progressive rock, and in particular Rock Andaluz, I am very pleased with this collection, at this moment featuring Volume 1,2,3 and 4, this review is about Volume 1.

Although I am very much into Spanish prog I am not familiar with most of the bands, I only know the name of legendary Antonio Smash, and the bands Amoeba Split, Kotebel and Goma. The level of the bands is good, and the variety incredible, remarkably almost every song is instrumental.

Vintage prog with the distinctive Theremin, Hammond organ and synthesizer in a slow rhythm by Gintonic. Canterbury featuring powerful brass/woodwind by Amoeba Split.

Jazzrock by Enredo (swinging and strong interplay), Antonio Smash (excellent musicians and a Rock Andaluz flavour), Angel Ontalva (guitar/saxophone) and Pedro Terán (swinging with powerful guitar and catchy electric piano play).

Avant-garde/experimental by Piel De Canto (King Crimson-like fiery guitar, powerful drums and sequencer like sound).

Sixties sound by Turdetans (Mellotron flute and dreamy English vocals), Triunvirato (rock guitar and powerful rhythm- section, strong Cream hints) and Goma (swinging rhythm-guitar and fiery guitar runs).

The other bands are Al.Ma Project (electric piano and Mellotron, moving guitar, halfway and accellaration with powerful guitar, a splendid rhythm-section, finally a part with Mellotron), Urban Trapeze (slow rhythm with moving guitar and an organ solo), Eduardo Moreno (a slow rhythm featuring a sensitive and howling electric guitar solo), Kotebel (soaring strings and piano, then moving guitar, in an ominous climate) and Trac (a mellow climate with dreamy vocals and sensitive electric guitar).

My rating: 3,5.

If you want to discover the lesser - and unknown Spanish prog this is an interesting project to discover, like other interesting bands from this Spanish prog label (old and new): Atila, Storm, Croma, Montoro, Randy Lopez, Sherish, Vandalus, Varekai, Qamar, Mantra ... yes, a world to discover Prog Archives progheads!

Emkog Sampler is a various artists compilation album released through Emkog Records in July 2010. The compilation features material by Deluge Grander, Birds and Buildings, All Over Everywhere, and Cerebus Effect. All artists are related as they feature composer/keyboard player/vocalist Dan Britton, who is also the founder of Emkog Records. So this is basically a showcase of of Britton´s dfferent projects.

Some tracks are featured here in the album versions, while others are excerpts, alternate mixes, or early versions of known tracks from the albums of the four Britton related projects. The most unique track featured on Emkog Sampler is the 20:13 minutes long "A Big Blob of Demos and Early Versions of Forthcoming Music" which, as the title of the track also implies, is a lot of different songwriting ideas and sections of compositions, which Britton planned to use on forthcoming recording projects. The tracks by Cerebus Effect and Birds and Buildings are a combination of jazz-rock/fusion and progressive rock, while the material by Deluge Grander and All Over Everywhere are more pure progressive rock. Some tracks feature male- and/or female vocals, while others are instrumental.

Common for all material regardless of which monicker it´s released under, is the high quality of the compositions, the musicianship, and the production values. Britton´s heart obviously beats for 70s progressive rock, jazz-rock/fusion, and analogue recording techniques, and this sampler works well as a way to get aquinted with the different Britton projects. I understand that adding excerpts was a necessary move to get important examples of the various monicker´s work included on the sampler, but it always feels a little wrong to be listening to only an excerpt of a much longer track. That said there is still a lot of high quality material featured here and a 3.5 star (70%) rating is deserved.

It's a difficult task to produce a review about a prog rock compilation: there are always the personal prefferences of the writer/listener. And there's this tough choice of the compilation's creator on whether focusing on a specific period and/or countries, and/or styles/subgenres. Well, the responsibles for this effort chose the hardest path - contemplate on only 3 CDs the main musical forces on prog rock (at least the more accesible ones, because there's nothing from Zeuhl nor RIO). Immediately, if your acquainted of this work, you'll probably retort "but there's no ELP, King Crimson, Rush, VdGG, Gentle Giant material on this trilogy. And the Pink Floyd and Genesis original stuff isn't present - the covers don't get even close. Inadmissible!". I'm more likely to give you plenty of reason, above my counter-argument that we don't know about the copyrights involved on this production, and other elements that might have prevented the inclusion of these immortal groups. Therefore, I agree that this a true negative point about this trilogy. One positive point: the distribution of the songs is intelligent and sensible.

The booklet soothes, but just a little, this negative side. It mentions ELP, King Crimson, and "pays tribute" to some of their members, which execute some of the covers.

Musically, this trilogy probably won't present any new discover to the conoisseur. But for me, it introduced some amazing gems. Not much because of the selection, inspired many times, and not so much on other moments. But specially on the quality of the remix. I don't know if this applies to all tracks, because I don't have any Hawkwind CD, and in my collection there's only very few krautrock (certainly no Can nor Amon Guru) or electronic prog (Tangerine Dream), so it's not possible for me to compare. For the songs I didn't previously know, some seem not so well recorded. Such as "I will return", from Springwater; the two tracks from Hawkwind; and "Ultima Thule", from Tangerine Dream. On the other hand, it's amazing what they made with songs like "Tomorrow Night", from Atomic Rooster (I have a remastered edition, and it doesn't get even close on this PRT); "You keep me hangin' on", from Vanilla Fudge; "In the land of grey and pink", from Caravan; and "Orange blossom special", from Fairport Convention. Besides, almost all of the remaining unmentioned tracks are dazzling on quality.

CD 1 is called "The Greatest Progressive Songs". As a matter of fact, the songs are almost all of them superb. And because of that, the cover versions of Pink Floyd and Genesis don't fit well. But the other tracks here are really nice choices.

CD 2, "The Canterbury Scene, Space Rock & Krautrock", starts fabulous. The songs picked from Caravan and Hatfield and the North are perfect examples of the sound that distinguished them from symphonic prog, folk-prog and other subgenres. And the two Soft Machine compositions delivered here are outstanding. Continuing on the audition, there's this incredible Gong proposal. The next tracks are out of my sympathy. Nonetheless, they made a very wise choice when including "Egyptian Kings", from Brainticket, and "Sunset in the third system", from Tangerine Dream.

"The Italian Scene, Folk Gems & some Magical Prog Tunes", the 3rd CD, brings very briefly the brilliance of RPI. I regret they picked, from BMS, "L'albero del pane": even though I recognize this composition as one of its most well known (I don't know if this song represents their political thoughts by the time), for me it's far from the peak of their musicality. The folk prog tunes are fabulous, and so is the cover of "Can-utility and the Coastliners". The conclusion - to be more specific, the two last tracks - are weak. The cover of "Eclipse" is terrible.

Concluding, this effort won't bring any amazing new findings for the conoisseur, but it certainly has in almost all the tracks a superb recording, and is a very good oficial introduction to progressive rock. A person who's starting to listen the genre will have good elements to decide wether which subgenres and/or countries he/she will explore more. Better songs from Yes and other bands could've been chosen? For sure! Are there better tunes that coulb be easily picked for this effort? No doubt for me! But I don"t know about the folks who decided which songs would be part of this trilogy. Well, hey, if you want someone to hear an intro to prog rock, send him a playlist from your streaming, or one of the many youtube links with this purpose. And if by chance this person makes a point of hearing such introduction on a sound equipment, this release is highly recommended. Some other benefits can occur; for instance, to listeners that don't know anything of Canterbury, and/or anything of Folk Prog. In my case, I discovered some new songs.

So, on one point of view (of the conoisseur), this work deserves 3 stars. On the other perspective (of the layman who wants to hear on a sound equipment) I'd give it a 4.2 stars. So, my final rating is 3.6.

Since the early 1980s the See For Miles Records has specialized in releasing long lost artifacts from the past by compiling flotsam and jetsam of both unknown and more familiar bands as well as nurturing new fledgling talented artists. In the mid-80s the label released one of its most critically acclaimed and most popular series THE GREAT BRITISH PSYCHEDELIC TRIP which came out as four vinyl records or three CDs. Comparable to the US Nuggets series, this one focuses on the British 60s scene with the first two editions focusing on the more obscure artists who didn't exactly burn up the singles charts during their day but nevertheless captured the spirt and zeitgeist of era in ways that equalled or surpassed the most famous bands still known today.

THE GREAT BRITISH PSYCHEDELIC TRIP, VOL 1 1966-1969 begins the series with artists who existed concurrently with the more famous bands like The Who, The Pretty Things orThe Small Faces but never found any success in terms of exposure or sales for that matter. In fact most of these artists never even had the opportunity to release a single album with only a few singles that dotted their short-lived output. Despite the obscure nature of the artists on this compilation, none of which i was familiar with before encountering this psychedelic pop gem, these artists showcase exactly how many talented acts there were in the day crafting excellently constructed psychedelic baroque pop that stood up to the best of the era.

Also falling in line with the 60s marketing trends of confusing the public, there are actually two versions of this compilation released simultaneously with slightly different titles. The vinyl LP edition only featured 20 tracks and sported a different album cover as THE BRITISH PSYCHEDELIC TRIP (1966-1969) while the CD edition featured 26 tracks and was released as THE GREAT BRITISH PSYCHEDELIC TRIP, VOL 1. This was the result of the limitations of vinyl which split the series into four editions whereas the longer CD format fit everything snugly into three. While most of these tracks will be completely unfamiliar, a couple of them may jump out at you including The Flies' version of "I'm Not Your Stepping Stone" best known as a Monkees single as well as The Californians' version of Warren Zevon's "Follow Me."

What this compilation succeeds in is revealing a completely unknown underground of the richness of the British music scene of the 1960s and although these tracks are psychedelic pop, like experimental artists like The Beatles, many were pushing boundaries while engaging in their trippy fuzz guitar sounds and Beach Boys style harmonies. While all the artists here could ostensibly be considered pop artists, the degree to which they aimed for the singles charts varied with clear missed hits with the sunshine pop "The Muffin Man" from World Of Oz to the more etheral, less commercial sounding track "Renaissance Fair" from Human Instinct. Others such as The Californians actually sound a lot like The Monkees. Overall this is an excellent collection of lost gems that will exhilarate those who can't get enough of 60s British psychedelic pop in the vein of The Pretty Things, The Beatles or The Move. Not every track is equally compelling but none are throwaways either. The two editions of each release are different enough they should be categorized as separate releases. Only 14 tracks appear on both formats. The rest are different. Track listing of each format:

THE BRITISH PSYCHEDELIC TRIP, VOL 1 (CD) 1 Turquoise - Tales of Flossie Fillet 2 Timebox - Baked Jam Roll in Your Eye 3 The Poets - In Your Tower 4 The 23rd Turnoff - Leave Me Here 5 World of Oz - The Muffin Man 6 Ice - So Many Times 7 The End - Shades of Orange 8 Ice - Ice Man 9 Cryin' Shames - Come on Back 10 Tintern Abbey - Vacuum Cleaner 11 The Virgin Sleep - Love 12 Turquoise - Saynia 13 Toby Twirl - Romeo and Juliet 14 Amazing Friendly Apple - Magician 15 Tintern Abbey - Beeside 16 The Flies - I'm Not Your Stepping Stonelyrics 17 The Accent - Red Sky at Night 18 Human Instinct - Renaissance Fair 19 The Cuppa T - Miss Pinkerton 20 Toby Twirl - Toffee Apple Sunday 21 Cherry Smash - Green Plant 22 The Californians - Follow Me 23 The Outer Limits - Just One More Chance 24 Les Sauterelles - Heavenly Club 25 Keith Shields - Deep Inside Your Mind 26 Al Stewart - The Elf

THE BRITISH PSYCHEDELIC TRIP (1966-1969) (Vinyl) A1 Turquoise - Tales of Flossie Fillett A2 The Attack - Created by Clive A3 Timebox - Baked Jam Roll in Your Eyes A4 The Poets - In Your Tower A5 The 23rd Turnoff - Leave Me Here A6 World of Oz - The Muffin Man A7 Ice - Anniversary (Of Love) A8 The End - Shades of Orange A9 Ice - Ice Man A10 The Fairytale - Run and Hide B1 Paul & Ritchie & The Cryin' Shames - Come on Back B2 Tintern Abbey - Vacuum Cleaner B3 The Virgin Sleep - Love B4 Turquoise - Saynia B5 Toby Twirl - Romeo and Juliet B6 Amazing Friendly Apple - Magician B7 Tintern Abbey Beeside B8 Fire - Father's Name Is Dad B9 The Flies - I'm Not Your Stepping Stone B10 The Accent - Red Sky at Night

Oh my...I would have never thought to see an album by the De Angelis brothers featured on PA. At the time of the release of this soundtrack they were quite famous, even if I think very few people had actually seen their faces, including myself.

They have spent almost their entire career making soundtracks other than few "one summer" hits on the disco music side.

Few words about Sandokan: it's a novel of the first years of the 20th century by an Italian writer who were used to write about exotic places like Malaysia, Indonesia and so on without having never left his town during all his life. The character is a pirate fighting against the British colonialists and in the movie it's interpreted by the Indian actor Kabir Bedi who in Italy became a sort of sex-symbol.

Said so, this soundtrack is a collection of short pieces written for the movie. There's a combat sequence, a love sequence but what is remarkable and had a great commercial success is the title track. It features a Sitar and has some Indian feeling. Probably it's the reason why somebody has considered it "progressive". Also the love theme can qualify in some ways.

The lyrics are what you can expect from the main title of a TV movie which was broadcasted in at least 5 parts, if I remember correctly, for about 8 total hours. In an age without internet and without streaming services, where people didn't have many choices, this soundtrack had a very lot of advertising.

I don't want to minimize the composing skill of the Oliver Onions, but sitar apart, I still don't see how this could be of any interest for a proghead.

I have to admit that if you blow the title track down any road in Italy, people would still recognize it. 2-stars is I think the appropriate rating.

Collectors of Italian movie soundtracks of the 70s only

One of the most regularly celebrated progressive rock albums came out in 1977, as the massive punk tsunami was about to wash away the "pompous and elitist flash rock", by none other than Anthony Phillips, who had left Genesis after the Trespass album (1970). It was the beautifully decorated "The Geese and the Ghost", artwork from Peter Cross and subsequently reprinted in 1981, 1988, 1990 as well as remastered in 2007, 2008 and 2015 (as a 2CD+DVD deluxe Edition). Not only has it stood the test of time, but its impeccable pastoral, vary English feel was incredibly unique and distinctive, rarely copied or emulated.

Well, that legacy has been perpetuated with "Which Way the Wind Blows- The Music of Anthony Phillips" 2019, a British tribute ensemble with all kinds of famous special guests, such as Steve Anderson, John and Steve Hackett, Noel McCalla, John Helliwell, Nick Magnus and Kate St-John, with more gorgeous Peter Cross artwork. I should be reviewing that one soon as well. In 2022, a dedicated German crew led by the Morgenstern family of Nina and Robin on vocals and multi-instrumentalist Tom, decided to invite a dozen or so guests, namely Steve Hackett (again!) as well as two members of Fauns, Jan-Peer Hartmann on guitars and flutist Kirsten Middeke. They put together a list of highlight tracks from the legendary and ongoing career of a gifted and humble musician worthy of the highest praise. To mirror the Phillips catalog, there are song-oriented tracks as well as instrumental workouts for which he is perhaps more infamous for.

One of the prettiest melodies ever to be found, "Sistine" develops a breezy little jewel that breathes tranquility and reverence, originally presented on the 1984 album "Private parts and Pieces IV; A Catch at the Tables". I could call this "Pristine" and not be criticized, a fluid simplicity that expresses the most genuine of sentiments. Robin's vocal is charmingly effective. Taken from the delightful New England album, "Sanctuary" offers precisely what the title implies, a sense of love longing for eternity, while "God If I Saw Her Now" is a highlight track from "the Geese and the Ghost", previously sung on demos by Ant as well as the rather awesome Phil Collins version on the album, which is a hard act to follow. Robin does another admirable effort here. The album "Dragonfly Dreams" proposes "She'll Be Waiting", another crystalline ballad that shimmers gently. The ghostly "Unheard Cry", the redolent "Stranger", "Lucy- An Illusion" with its majestic synth solo a la Tony Banks, "Moon's Lament for the Sun" and "Master of Time" are all more than meets the ear.

On the instrumental side of things, the prog fan will find quite a selection of sensational excerpts A fascinating piece of memorabilia on "F Sharp", as it was a 1969 demo sketch by Ant and Mike Rutherford that eventually was shaped into this arrangement, furthered into the eventual and instantly recognizable solo on the Musical Box, played by Steve Hackett. This alone is worth the price of admission, a glimpse into the inner workings of musicians creating a masterpiece, in the most natural way possible, hours of work and practice. Needless to state, Hackett does his usual magic here.

On the previously unreleased "Study No.1 in E Major" is Gereon Schoplick on solo classical guitar, very much in the Phillips tradition. A sensational piece is the "Salmon Leap" features a full band workout that jumps out at you (excuse the pun) like a fish out of water. This was part of "the Scottish Suite" from the stunning "Back to the Pavilion" recording which also sits very high in the Ant pantheon. From that same album, Gereon does another admirable turn on the 12-string loaded with reverb with "Postlude: End of the Season"

"Slow Dance" perennially sits in my all-time top 25 albums, often selected for Sunday morning play, the excerpt from Part 1 a subtle reminder just how great this album is played by reverential musicians who can recognize genius when asked to tackle the repertoire. Anthony has acknowledged this album with his usual humble demeanor, stating that many of the tracks chosen were improvements on the original.

4 Illuminations from the Incline.

Since the early 1980s the See For Miles Records has specialized in releasing long lost artifacts from the past by compiling flotsam and jetsam of both unknown and more familiar bands as well as nurturing new fledgling talented artists. In the mid-80s the label released one of its most critically acclaimed and most popular series THE GREAT BRITISH PSYCHEDELIC TRIP which came out as four vinyl records or three CDs. Comparable to the US Nuggets series, this one focuses on the British 60s scene with the first two editions focusing on the more obscure artists who didn't exactly burn up the singles charts during their day but nevertheless captured the spirt and zeitgeist of era in ways that equalled or surpassed the most famous bands still known today.

THE GREAT BRITISH PSYCHEDELIC TRIP, VOL 1 1966-1969 begins the series with artists who existed concurrently with the more famous bands like The Who, The Zombies orThe Small Faces but never found any success in terms of exposure or sales for that matter. In fact most of these artists never even had the opportunity to release a single album with only a few singles that dotted their short-lived output. Despite the obscure nature of the artists on this compilation, none of which i was familiar with before encountering this psychedelic pop gem, these artists showcase exactly how many talented acts there were in the day crafting excellently constructed psychedelic baroque pop that stood up to the best of the era.

Also falling in line with the 60s marketing trends of confusing the public, there are actually two versions of this compilation released simultaneously with slightly different titles. The vinyl LP edition only featured 20 tracks and sported a different album cover as THE BRITISH PSYCHEDELIC TRIP (1966-1969) while the CD edition featured 26 tracks and was released as THE GREAT BRITISH PSYCHEDELIC TRIP, VOL 1. This was the result of the limitations of vinyl which split the series into four editions whereas the longer CD format fit everything snugly into three. While most of these tracks will be completely unfamiliar, a couple of them may jump out at you including The Flies' version of "I'm Not Your Stepping Stone" best known as a Monkees single as well as The Californians' version of Warren Zevon's "Follow Me."

What this compilation succeeds in is revealing a completely unknown underground of the richness of the British music scene of the 1960s and although these tracks are psychedelic pop, like experimental artists like The Beatles, many were pushing boundaries while engaging in their trippy fuzz guitar sounds and Beach Boys style harmonies. While all the artists here could ostensibly be considered pop artists, the degree to which they aimed for the singles charts varied with clear missed hits with the sunshine pop "The Muffin Man" from World Of Oz to the more ethereal, less commercial sounding track "Red Sky At Night" from The Accent. Unlike the CD which featured some more avant-garde sounding acts, this one is pretty much strict psychedelic pop. Overall this is an excellent collection of lost gems that will exhilarate those who can't get enough of 60s British psychedelic pop in the vein of The Pretty Things, The Beatles or The Move. Not every track is equally compelling but none are throwaways either.

The two editions of each release are different enough they should be categorized as separate releases. Only 14 tracks appear on both formats. The rest are different. Track listing of each format:

THE BRITISH PSYCHEDELIC TRIP, VOL 1 (CD) 1 Turquoise - Tales of Flossie Fillet 2 Timebox - Baked Jam Roll in Your Eye 3 The Poets - In Your Tower 4 The 23rd Turnoff - Leave Me Here 5 World of Oz - The Muffin Man 6 Ice - So Many Times 7 The End - Shades of Orange 8 Ice - Ice Man 9 Cryin' Shames - Come on Back 10 Tintern Abbey - Vacuum Cleaner 11 The Virgin Sleep - Love 12 Turquoise - Saynia 13 Toby Twirl - Romeo and Juliet 14 Amazing Friendly Apple - Magician 15 Tintern Abbey - Beeside 16 The Flies - I'm Not Your Stepping Stonelyrics 17 The Accent - Red Sky at Night 18 Human Instinct - Renaissance Fair 19 The Cuppa T - Miss Pinkerton 20 Toby Twirl - Toffee Apple Sunday 21 Cherry Smash - Green Plant 22 The Californians - Follow Me 23 The Outer Limits - Just One More Chance 24 Les Sauterelles - Heavenly Club 25 Keith Shields - Deep Inside Your Mind 26 Al Stewart - The Elf

THE BRITISH PSYCHEDELIC TRIP (1966-1969) (Vinyl) A1 Turquoise - Tales of Flossie Fillett A2 The Attack - Created by Clive A3 Timebox - Baked Jam Roll in Your Eyes A4 The Poets - In Your Tower A5 The 23rd Turnoff - Leave Me Here A6 World of Oz - The Muffin Man A7 Ice - Anniversary (Of Love) A8 The End - Shades of Orange A9 Ice - Ice Man A10 The Fairytale - Run and Hide B1 Paul & Ritchie & The Cryin' Shames - Come on Back B2 Tintern Abbey - Vacuum Cleaner B3 The Virgin Sleep - Love B4 Turquoise - Saynia B5 Toby Twirl - Romeo and Juliet B6 Amazing Friendly Apple - Magician B7 Tintern Abbey Beeside B8 Fire - Father's Name Is Dad B9 The Flies - I'm Not Your Stepping Stone B10 The Accent - Red Sky at Night

"Au Phil de Naos - Hommage à un lutin Chantant" is a tribute to Philippe Mottée, singer of the french neo progressive band Naos. Phil had hoped for years that Naos would reform to release a third album of which a few tracks had been worked, but nothing was further than the demo level. Phil died in the middle of January 2022, and a few days later Dominique Marrion (from the group Raison de Plus) told me that Phil had sent him seven demo tracks from Naos, hoping that Raison de Plus could record them. With Eric Bonafoux, the last keyboardist of Naos, we decided to call on many musician friends to record these titles while respecting the models. This is how we find on this album all or part of the musicians from the French groups Raison de Plus, Controverse, Magnesis and JPL, and also musicians such as Pat Sanders (English band Drifting Sun), Jean-Philippe Suzan (Gens de la Lune), Dominique le Guennec (Mona Lisa), Achraf Elasraoui (Moroccan singer), Yon Gachet Chevalier and Thierry Bernier. We can hear Phil's singing accompanied by Lucien Pagano (guitarist of Naos) and his wife Marie as backing vocalists in the last track of the album. "Voyage" was taken from a low quality live recording, it was an acoustic track on which Phil sang over a few chords of Lucien's guitar. To have better quality and bring out Phil's voice, Didier Leveau digitally isolated the vocals, re-recorded an acoustic guitar track and added light keyboard layers. All the musicians agreed to work for free, as well as the talented Scottish painter Charlie Roy who created the visual for the album based on a screenshot taken from a video of Naos on stage.