Desert (Steve Linnegar's Snakeshed, 1982)

These musicians come from South Africa and this is maybe their proggest track, a 14 minutes song deeply influenced (IMHO) by Animals-era Pink Floyd and some pastoral British bands. Guitarist duo Steve Linnegar and Martin Kopelowitz  founded this band in Cape Town and recorded theirt first album between South Africa and London. I do think this is a fascinating and enjoyable composition, featuring atmospheric passages and beautiful tempo changes, even if I read many ungenerous reviews about this track and "Classic Epics" album, labelled as a derivative and "less than average prog pop" release.

The cover reveals Linnegar & Kopelowitz's passion for martial arts.

Likely because of my musical ignorance, I confess that I enjoyed "Desert" very much, and I still listen to it from time to time. What I especially like here is the open minded approach of the band, melting so many different styles in one coherent song, with a liquid and warm texture where prog meets soul. I'd like to know my progfriends' opinion about this old piece of music.

Swan Song (Rebekka, 1982)

Most of the progfans having listened to "Phoenix", Rebekka's first and best album, compare this band to Renaissance, especially because of their melodic taste and Marion Weldert's voice, not too different from Annie Haslam's. Bute there is an original touch in Rebekka we shouldn't underrate: they mixed soft atmospheres with European folk themes, acid touches and electronic devices.

 

After this one, the band released a second studio work in 1984.

As this opening song will prove, Rebekka's sound appeal is founded on this clever and pleasant blend of flavours, all well arranged in their symphonic frame. Useless to say, the elegant piano played by Peter Laubmeier provides a classical mood to "Swan Song" as its title requires, after all. Just another hidden pearl in the inexhaustible treasury of prog.

Čím je svět můj (Progres 2, 1982)

This is an excellent prog rock track from the '80s, but please note Progres 2 actually were active also during the '70s in the Czech musical scene (they're from Brno, more exactly). This track features a very good mix of mainstream rock, progressive rock and assorted electronic sounds from the '80s. It's the closing track from the double album "Třetí kniha džunglí", also released in English as "The Third Book of The Jungle".

"Třetí kniha džunglí" was the fourth album by Progres 2.

As a matter of fact, Progres 2 love Kipling's literary masterpiece, as they had already written an album titled "Barnodaj – Mauglí" on the same subject. I like the dynamic and everchanging mood of "Čím je svět můj" (titled in Englis "What My World Really Is") and especially the guitars, ruling most of the instrumental parts. As you could expect from a closing epic, the volume is very high and there are some majestic and noisy walls of sound throughout the song. But, well, this is prog rock, baby!

Lento juego de luces (Espiritu, 1982)

Coming from "Espiritu III", maybe not Espiritu's best effort, this is an uncommon and fascinating track. It is a rather long one (more than 7 minutes) and includes a remarkable sung melody, supported by spacey instrumentals (and a long finale) maily driven by the piano, the bass guitar and assorted keyboards. The sound of the '80s is there, but the well built architecture of "Lento juego de luces" ("Slow light effects" in English) strongly belongs to the previous decade.

"Espiritu III" was, of course, the third studio album by the band.

 

These Argentinian musicians know how to write and arrange good songs and always try to skip trivial solutions, even if their music never goes experimental. That's what you'll fine here: an enjoyable track suspended between prog, pop and electronic easy listening, a song that can dig its way inside the listener's soul. That's all I can expect of a prog song.

Grendel (Marillion, 1982)

I wondered about including "Grendel" in my blog for years, and I finally came to a positive decision. This is kind of an orphan song, as Marillion themselves never perform it live nowadays and they even seem ashamed of it. Nonetheless, this is a seminal song in their career, one of their earliest compositions and one the bravest ones. Bravest, yes, because it wasn't easy at all to write amnd perform a prog rock suite in 1982, let alone the mythological lyrics . By the way, those lyrics weren't directly inspired by the Beowulf, as Fish put down in poetry a novel by John Gardner, so that the song deals more with intolerance than with monsters. 

 

Grendel was released as part of "Market Square Heroes" single.

That said, I actually love this epic, so powerfully emotional and so rich in changes and - of course - in musical quotations. I think this is the perfect manifesto of the resurgence of prog in the '80s and also a brilliant example of how moving prog rock can be when Fish and Marillion come into play. I apologise with the band and the intellectual reviewers, but I'm still in love with Grendel (I mean the song, not the monster...).

Houdini (Kate Bush, 1982)

Kate Bush is one of the most influential artists in the world since her debut in 1978 and surely is considered as a prog related singer and songwriter. We don't need to search for long and tricky compositions to find the avant-garde habits and the musical research that are the essential elements of prog rock. Take this "Houdini", coming from such a beautiful album as "The Dreaming".

"The Dreaming" was one of the most creative albums by Kate.

All the tempo changes, the passionate vocals, the orchestral touches and, of course, the keen work on sounds make of this song a pure jewel. The chorus is heartbreaking and Kate is perfect when she digs very deep in the human soul as she does in this song. Is this progressive rock? I think so.

Heat of The Moment (Asia, 1982)

A commercial, catchy, plain song. Still, a very good one. When Asia released their debut record in 1982 I confess I was somewhat disappointed, as I was expecting something more elaborate than that, but after a while I saw that this was exactly what the band wanted to do. A pop side of prog that still works and didn't get older at all. The opening riff is a good classic today and John Wetton's vocals are neat and strong.

Four '80s boys... well, more or less.

The rest is provided by the likes of Howe, Downes and Palmer. That's to say: you can write the simplest of songs, but when it comes to the players, well, you can make the difference! I still listen to "Heat of The Moment" with pleasure and I can see how difficult it is to be successful and original nonetheless.

Sasquatch (Camel, 1982)

"The Single Factor" isn't my favourite album by Camel and it is unlikely to be yours, as far as I can see. But there are excellent tracks in it, especially the instrumental ones, like this "Sasquatch", a true prog gem. Its lively and changing rythm, the intricate interplays and the usual camel-esque warm melodies are but three of the good reasons to listen to it. Let's see some other ones.

"The Single Factor" was the ninth studio album by Camel.

The simultaneous presence of 12-string and electric guitars creates a sparkling and enjoyable mood, so that the tempo and theme changes can count on a constant and never too invasive background. Latimer's guitar is another highlight of "Sasquatch", but then I'm saying nothing new: Andrew's original touch has a brilliant and cheerful nuance in this track, rather on the sunny side of Camel. That said, my dear progfriends, I'll leave you the pleasure to start this enthralling musical journey.

Tanz und Tod (Anyone's Daughter, 1982)

Anyone's Daughter are one of my favourite german bands ever. I think this "Tanz und Tod" (something like "Dance And Death" in English) should explain why I'm fond of them. It's a three-part suite coming from the album "In Blau", and it also should prove how the '80s sounds could go along very well with prog rock (they rarely did, I know...). And with native language lyrics, that's always a plus to me.

"In Blau" was the fourth album by Anyone's Daughter.

The three sections of this track are really diversified, ranging from pop-prog to piano solo and from spoken lines to a full-bodied symphonic finale. Of course, other attractions are there to please the prog ear: guitar solos (the last and longest one is good as gold, IMHO), jazzy passages and so on. Energetic and dynamic, yes, but also romantic and melodic, this composition doesn't bind me to choose between heaven and hell... it's an all-inclusive set. I take it.

Várni kell (East, 1982)

Hungarian neo-prog heroes East released their second album, called "Hüség" ("Faith") in 1982 and this is likely my favourite song from it. It is titled " Várni kell" ("You Must Wait") and is a very good example of easy progressive pop/rock, including a catchy sung theme and a series of keyboard-driven instrumental parts. The guitar adds its distinctive touch to the big picture and the rest of the band cooperates to build up a very pleasant song.

I also happen to like this cover art very much...

Sure, this isn't for my most adventurous readers, but I'll ever be partial to the groups carrying on more or less prog choices in a difficult era and what's more I don't think such musical efforts were encouraged by the Hungarian political establishment. That said, this song is also well played and well sung by Miklós Zareczky and more than this, there's a well found mix of electronic effects and acoustic instruments. Well done,our Hungarian friends, well done!

Only Time Will Tell (Asia, 1982)

When a group of famous prog artists decide to write down a bunch of plain songs, the final result is seldom exciting and, of course, successful. This is exacly the case with Asia's debut album, and this is one of my favourite tracks in it. All is done to please the listener here, and this is both the strongest and the weakest point of "Only Time Will Tell".

This song was the second successful single from "Asia" LP.

No adventurous musical patterns, no brand new solutions, but many enthralling moments and a lot of energy and good melodies. That said, Asia strongly contributed to the creation of what we call today Arena Rock and  their heroic sound is never too pomp or bombastic, as the good taste is part of those musicians' DNA. Useless to say, they all play their instruments the way we perfectly know. "Only Time Will Tell" is one of those songs that wind me up. What about you?

San Jacinto (Peter Gabriel, 1982)

This is one of my favourite Peter Gabriel's tracks, it has always been, since its release in the album "Peter Gabriel IV", also known as "Security" LP. There's a tense vibration in this song, a mysterious mood and a deal of weird, fascinating sounds. The lyrics are about a Native American initiation ritual, a painful one, and the short lines are like a wheezy breathing. Useless to say, Gabriel's vocal performance is perfect: deep and intimate, suggestive and moving.

 

This was the last album Peter Gabriel titled simply by his name.

The electronic effects are like ancestral instruments, and Jerry Marotta's drumming adds a syncopated heart to the track. When the chorus come in and Peter's voice rises up like a scream, I see flashes and colours from an unknown desert bursting out. I do think this song is more like an emotional trip than a mere musical experience.

The Riddle Princess (Dragonfly, 1982)

Too sad this Swiss band, born in the late '70s, just released one album. This epic will explain how good and well conceived their music was. They knew how to line up different moods and they liked to employ both acoustic and electric instruments, in the wake of such masters as Gentle Giant, Genesis and, most of all, Yes. The sound still seems good to me today, and the finest moments probably are the Moog and acoustic guitar interplays, drawing dreaming sequences and fairy atmospheres.

This album includes all the best features of classic Symphonic

Rock and that wasn't a commercial winning choice in 1982...

René Bühler, the singer, has a sensitive voice, clearly inspired by Jon Anderson, but with a personal note. This suite has a special charm, suspended between the highest aerial regions, and the pulsing rythm section, cleverly enriching the instrumental passages with intricated needleworks. When the tempo rises up, Marcel Ege's electric guitar also comes in and adds its stingy notes to the big picture. Really, a good way to spend your next 17 minutes of spare time.

Subdivisions (Rush, 1982)

This song opens "Signals", the album Rush released in 1982 and it's one of the band's more captivating tracks, also released as a single. The strongest point in it is the very well found melody Geddy Lee sings with his usual strength. But the arrangement, including some very interesting instrumental sections, adds an additional value to the big picture. The airy guitar riffs - a trademark of Rush sound - are less commen here and you'll find instead a constant presence of keyboards, providing kind of a plastic and claustrophobic background to the song. Nonetheless, the double keys then guitar solo toward the end of the track is tipically Rush and gives to "Subdivisions" a slightly optimistic touch. The lyrics are about the rigid rules and limited sense of communion in modern urban life, well represented by housing subdivisions, so common in our suburbs.

"Signals" was the ninth studio album of Rush.

The band depicts such a pityful but comfortable lifestyle adopting a stressing rythm and some electronic effects. They describe youth's life in those geometric boundaries with strong accents. Here you are:

Growing up it all seems so one-sided
Opinions all provided
The future pre-decided
Detached and subdivided
In the mass production zone

Nowhere is the dreamer
Or the misfit so alone

 

And prog is for the dreamer, isn't it?

Le bal des Laze (Ange, 1982)

Taken from "A propos de...", an album of french cover versions, this song is by far the best of the whole lot. The original Michel Polnareff's song is fully transformed in a longer and more complex composition, including a beautiful, atmospheric 4 minute intro, two excellent instrumental sections and a guitar driven finale, all of them featuring good keys and guitars.

Not a great album, maybe, but with at least one excellent song.

The vocals are, of course, à la Ange, with all the theatrical and charming strenght of Christian Descamps. The lyrics are also appropriate to Ange, describing an outlaw's impossible love for an English noble girl and his thoughts the evening before his execution, while a grand gala takes place in his loved one's castle (Laze is her family name, so the song title sonds like "Lazes' Dance"). If ever a cover version has been a good prog track, this is the one and I finally decided to add it to my collection, even before other very good Ange's songs... just listen to the final guitar solo and you'll agree with me. Well, I hope so.