The Ember (Haze, 1985)

Haze are one of those brave bands fighting the Prog Resistance Wars durind the early '80s and finally allowing our favourite genre to survive. Useless to say, I'm partial to such a bunch of musical heroes, that's why I always listen with pleasure to this Sheffield based act. As this song will testify, Haze's prog has an excellent rock texture on which they build up a solid and elegant music despite the low budget production of their early works. "The Ember" has the genuine taste of those border crossing years, mixing the classic progressive rock sonds with the new wave ones. 

This is the original 1985 EP's cover art. It was re-released on

CD as "C'est la Vie / The Ember".

The final result is definitely anchored on the rocky solid ground, but you'll finde there the right amount of lightness and melodic inspiration you expect from a neo-prog band (and neo-prog is not a reductive term in this blog!). It is amazing how these musicians, that only released two EPs during their roaring days (their first studio album came out in a 2013 reunion) atill sound so fresh and punchy...

Feel The Cold (North Star, 1985)

I read many negative  reviews on North Star's records before listening to them. When I finally did it, I found actually unfair most of those low rates. True, these American boys love Genesis and seldom try to reproduce some of the British masters' sounds. But they also have many original solutions, especially when the drums come in. More than this: they write good melodies and perform them well and with the right amount of passion. 

Line-up: brothers Glenn and Kevin Leonard and Joe Newman.

Songs like this "Feel The Cold", the opener of the band's second album,  is full of real emotions and the '70s aren't a mere standard here: they're more like a Wonderland these three boys explore and their sense of wonder is so deep and sincere that it strucks me each time I listen to them. They love the same music I love and they know how to keep it alive. So why should I complain?

Только ты / Only You - Диалог / Dialog (1985)

Sometimes I need a very, very melodic prog song to reset my mind. And Dialog (Диалог) provide many sweet, drreamy songs I can listen to when I'm in such a mood. This song, "Только ты" (that's to say "Only You") comes from their debut album "Просто" (or "Just So") and has a strong Floydian taste. Recorded during the Soviet era, it is another good example of Russian hard-to-die and clandestine progressive movement.

Dialogue were a seven piece band when they recorded this album. 

This track was written by keyboardist and lead singer Kim Breitburg and reveals his talent as a songwriter and also his good tasted way to mix neo-prog vein and classic prog sounds. The sung theme is catchy and ethereal, the keyboard background is pleasant and, of course, the guitars add that special, Gilmour-esque touch I never despise. So, if you feel like spending some minutes in another world, please close your eyes and give Dialog a chance.

Snowballs (Horizont / Горизонт, 1985)

The first Horizont's album actually is a prog gem and definitely can be considered as one of the best fruits of Russian prog. It only includes three long tracks and this is the opening one, called "Snowballs". That's an excellent example of what we used to call descriptive music, so that you can actually see a snowball battle going on and an enchanted, wintery landscape all around.

Horizont in concert during the '70s.

Ranging from symphonic to electronic arrangements, this instrumental track includes effective choral harmonies and some beautiful guitar / piano interplays. It's a puzzling mix of Yes and Kraftwerk, Focus and Magma... in short, it's Horizont themselves. I don't know how it will seem like to you, but I bet you won't be bored at all!

Bois de Boulogne (Tangerine Dream, 1985)

I know the real TD's hardcore fans won't agree with me, but this is a track I simply adore... and I even like the whole "Le Parc" album. Sure, the band's best releases belong to the '70s, but this concept about City Parks around the World is an enjoyable one, melting good electronic music and commercial requirements. In particular, this opening track, describing the Boulogne Forest in Paris, is a perfect example of '80s electronic sound, but with a special twist only a great band from the Golden Prog Era can add to the melting pot.

 The band's lineup in this album is: Froese / Franke / Schmoelling.

The track grows up little by little and the final section is an enthralling and clever piece of prog, just like it used to be with Tangerine Dream. I added "Bois de Boulogne" to my blog because one sometimes needs some pleasant and not too tricky music, a track that just sweeps away the daily troubles or the Monday blues... well, this is exactly what one's searching for!

Bitter Suite (Marillion, 1985)

One of my favourite (neo-)prog songs ever, this "Heart of Lothian" is the symbol of Marillion's sensitive, romantic and somehow aggressive style. A thrilling pathos rules the entire track, supporting the autobiographical lyrics by Fish, whose vocals are both deep and biting... even his narrating intro, probably the only prog spoken section I adore. And the J'entends ton coeur passage is one of the most touching and sincere anthems of the '80s prog rock, IMHO, a bleeding heart's cry. Then, what about Steve Rothery's solo? Or of the intro of the last section?

 

An early Marillion press photo: the way they were...

Being a short suite inside an album that's kind of a suite itself, this song is actually divided into three parts: I. Brief Encounter, II. Lost Weekend, III. Blue Angel. It is difficult for me to select one of these as the best one, as they're all so enthralling and melodically rich that I'll never be tired to listen to them. And to say it all, I'll never be tired to listen to the whole "Misplaced Chilhood" album. Will you?

Beginnings (Kenso, 1985)

I love this instrumental track by Kenso very much. It's the closing one from "Kenso III" album, a miracle of balance between prog rock, jazzy influences and melody. These Japanese musicians really are a surprising and uncompromising band, and their "Beginnings" proves what I'm saying by its various and liquid beauty.

Kenso released 10 studio albums from 1980 and 2014.

 

You'll find here a mix of basic sounds framed in a composite pattern, full of grace and colours, far from any useless display of virtuosity and aimed to an emotional impact instead. A palette of feelings draw an Eastern, inner skyline, a moving picture and an everchanging soul. So many instruments cooperate to trace a single path going down to each listener's secret garden. An almost spiritual trip I highly recommend.

Summer in Town (Horizont / Горизонт, 1985)

Be prepared to meet one of the strangest and most fascinating suites in the strange and fascinating world of underground prog. This Russian band was born in the late '70s, but they released their two albums during the '80s, leaded by composer and keyboardist Sergey Komilov. This is the title track of the fiorst one, divided into three movements: March, Minuet and Toccata. As those sub-titles may suggest, the classical influence is very strong on Horizont's music, but it's not the only one.

Unfortunately, Horizont disbanded in the late '80s.

These musicians also like to experiment, to amaze their listeners, including unpredictable solutions in their compositions and many avant-garde sounds. You'll find here - I mean it - both Genesis and Magma, both symphonic rock and krautrock. The final result may be puzzling, but it isn't unpleasant, after all, as Horizont don't like elitarian music and always try to communicate emotions. Well, you wouldn't have find this song here, had they acted otherwise.

Winter "The Key" (The Enid, 1985)

The Enid realesed a collection of songs about the four seasons (not so original, but always a good idea) in three different moments and supports: first, as a double 45 rpm album, then as a proper vynil album and finally as a CD including a bonus track. "Winter" is the openingtrack and maybe the most moving one. As all The Enid's compositions, it's an uncompromising symphonic compisition, set up following the classical concerto movements and selecting the more orchesta-like sound effects Robert John Godfrey's keyboards could provide.

The art gracing the first CD version of "The Spell".

You'll find here a fanfare opening, then a more melodic, lento music, where the excellent main theme of the song rises like a waterspring. That could be perfect for a romantic ballet and the typical Enid's features go extreme, so decidely you'll like it (if you like their music) or you'll hate it (if you don't). Not so strange The Enid are the favourite target of anti-prog arrows and the most secret love of so many proggers. Like me.

Reminiscencias de un mundo sin futuro (Iconoclasta, 1985)

These Mexican guys are now pretty well known and appreciated worldwide and they actually deserve that. "Reminiscencias de un mundo sin futuro" (meaning in English "Memories of a World without Future"), comes from their second album "Reminiscencias" (that is "Memories") and is a seven parts and 18 miunutes suite. Its intricated interplays, its abundance of moods and changes make this track something like a compendium of many prog rock different styles. So, you'll find here synphonic passages, slightly jazz improvisations, acoustic and lunar interludes, hints of Genesis and ELP, but also original choral arrangements and a pinch of Italian prog.

A beautiful album, including our excellent suite.

Nonetheless, this epic is perfectly balanced and surely has its own character, marked by beautiful guitars driving the music, a light but effective keyboards background, a recurring theme and also a tasteful architecture. The apocalyptic subject of the song suggests some dramatic passages, but there's a firm sense of measure everywhere and this is the last (but not least) credit I'm happy to assign to this band's music.

Ghost of Durtal (Galahad, 1985)

There are two different versions of this Galahad's beautiful epic. The first one comes from the very early years of the band and was included in their first self produced tape, titled "Studio 95 Demo" and released in 1985, while the second one was re-recorded for the first Galahad's proper album "In A Moment of Madness" re-issue of 1993 and re-titled "In A Moment of Complete Madness". This more recent version is surely far better in sound quality than the original one. Anyway, if you want to listen to the historical recording, you can dowload it via the band's official website.

This is the cover art of the 1993 re-issue of the first Galahad's album.

Here they included three bonus tracks, including a new version of our song.

This song is about an impossible love story involving the British singer and a French ghost and despite the unavoidable debuting naiveties, really is a lovely, mysterious and nocturnal song I still listen to with great pleasure. It begins with a lunar melody, very well sung by Stuart Nicholson, and goes on mid-tempo until the halfway scary instrumental section, including a French / English bilingual message to the female ghost and a pipe organ. The ending section is also very good, with a dreaming electric guitar and a rising tempo underlined by a martial drumming. I can't say I like all Galahad's discography, but this track is one of my favourite essays of the '80s neo-prog era.

The Big Money (Rush, 1985)

Can a song be both typically '80s and undoubtedly prog? Many tried, Rush succeded with "The Big Money", the opening track and first single of their album "Power Windows", released in 1985. The arena rock style electric guitars, the pulsing bass and some synth effects are certainly the sons of their decade, but the creative drumming work, the intricate guitar / keys interplays, the bass line (with a taste of Yes) and the solos are the proggest thing you could imagine.

 

"The Big Money" single was released in october 1985.

The song plot is cleverly set up, with a strong guitar-driven intro, a tough vocal theme and the beautiful instrumental section, including some delicious tempo changes. The finale resumes the main vocal tune and treats the listener with some extra riffs. A well balanced piece of work in an album including many cold-hearted tracks, an enjoyable song, but not at all a plain melodic rock piece. Something to warm up a progger's dull day.

Kayleigh (Marillion, 1985)

Well, I couldn't skip this one in my collection. "Kayleigh" isn't just a song, it's kind of a symbol, the mark of progressive rock re-birth after its too hastily declared death. His reaching # 2 in the UK charts and many other National charts was the living proof that someone still liked the genre, as the relative album "Misplaced Childhood" huge success confirmed. But, of course, "Kayleigh" is also an excellent song, based on an original rythmic background and featuring a very good melody sung by Fish in all the splendour of his passionate and sensitive style. Steve Rothery's guitar also increases the artistic merit of the whole song.

Mark Wilkinson's cover for "Kayleigh" single...

 

...and a detail of Market Square new pavement in Galashiels.

 

The story of Fish and his ex girlfriend, as narrated in "Kayleigh", keeps a special place in prog history and also was worth a monument, as the Scottish town of Galashiels inscribed the song lyrics in the pavement of its Market Square, the very place where the romance began some decades ago. That said, I ask you once again: could I skip this song?

The Ninth Wave (Kate Bush, 1985)

I don't think Kate Bush could be tagged as a prog artist, nor as part of any other novement. She's a world apart, a unique mix of feelings and skills. That said, this beautiful suite taken from the album "Hounds of Love" (1985) is probably her proggest release ever. Seven movements, deep folk roots, clever orchestral arrangements, spooky moods, electronic touches, the story about a drowning person, everything here suggests a personal research both in sounds and lyrics.

This is the Aivazovsky's masterpiece titled "The Ninth Wave",

painted in 1850, that inspired Kate Bush.

As usual, the excellent melodies are perfectly in tune with the concept and a wide range of special effects and samples add a theatrical touch to the track. Kate takes care of everything, each detail is meant to add something relevant to the big picture. The listener goes through irish jigs, gloomy choirs, bright tunes and electro-pop beats in a surprising and coloured soul journey, inspired by Ivan Aivazovsky's painting and transfigured by Kate Bush's wild sensitiveness. Such an experience is certainly worth some 25 minutes of your life.

Widow's Peak (IQ, 1985)

Taken from "The Wake" album, this is one of the most inspired and well structured neo-prog songs of the 80s, IMHO. After an atmospheric keyboards driven intro, the track lives on a series of rock gusts where drums and guitars are in the foreground. A slow mid section just prepares the return of the rythm, also thanks to Peter Nicholls' voice. Peter deserves a special mention for his performance on this song, a very difficult one, obliging him to run after the other instruments during the faster passages and to fill the blanks between those rushes with more intimate accents.

"The Wake" was the second album of the band.

He performs both tasks very well. This contributes to the final effect, that's to say a perfectly balanced track, swinging from melody to rythm, increasing the value of each member of the band. The dramatic use of all the instruments, both in slow and fast passages, gives an electric charge to the song, so, please, don't resume that old story of Genesis influence, 'cause I'm listening to a good piece of music and, really, who cares?