Debka דבקה / (Sheshet / ששת , year 1977)

Among the many flute driven prog groups from the '70s, Israeli band Sheshet ( ששת ) surely weren't the most famous one, but they created a delicate and rather eclectic self-titled album, from which I'm introducing a song called Debka or  דבקה , the name of a Near Eastern dance, an excellent way into Sheshet's musical world. The listener finds, of course, a well played flute à la Ian Anderson, but also beautiful vocal harmonies somehow inspired by Gentle Giant, some ethnic rythms and jazzy instrumental passages.

Such a pity this was going to be their only album...

A good deal of solutions, as you can see, so that the final effect is that of an original and pleasant mix of different moods gathered in a coherent frame. Not an easy task, but the band succeeded in such a daring melting pot and - what's surely more surprising - their music is even more enjoyable today than it was in 1977. Try it and let me know...

 

Anesthetize (Porcupine Tree, 2007)

This "Anestethize", coming from the album "Fear of A Blank Planet", could be considered a suite, as the lyrics in the booklet were neatly divided into three sections, and anyway  its more than 17 minutes of duration time and the changes in mood, tempo and arrangement also justify this. The song is highly representative of the 2000s production of Wilson & friends, lining up atmospheric and rather sad moments, ballad-like themes and cold distorted guitars in the rockiest passages.

"Anestetize" also was the title of PT's 2010 live release.

For sure, this weird mixture has a mysterious emotional appeal, and it compels the listener to dig inside his or her soul, where the deepest fears and worries hid themselves. The last section, in particular, moves me each time I listen to this epic, but all its moments are there to outline a dark journey that has the power to nerve my spirit in a shrewd and keen way.

Stardust We Are (Flower Kings, 1997)

The title song of "Stardust We Are" by Flower Kings is a manifold suite full of changes and charming interplays, as usual with this band. If I choose this one for my post, however, it's because I feel more emotion in this epic than I usually feel listening to Flower Kings. The fusion between acoustic and electric instruments is perfect, and this surely adds a warmer touch to the big picture. On the other hand, the melodies are well found and the arrangements forbid any boredom and redundancy.

It also exists a 3LP+2CD deluxe set of this album... did you know?

I especially like the down tempo passages, full of misty guitars not too far from early Genesis. There's a strong coherence in this suite, also because it is divided in only three parts, even if it lasts more than 25 minutes! The three sections plot, IMHO, allows a more fluid and easy exploitation of each theme and a good deal of variations on them. In short, "Stardust We Are" is a song I always listen to with pleasure and surprise.

И светлый же этот день (Argo / Арго, 1981)

This band was the brain child of Lithuanian composer Giedrius Kuprevicius and their music always switched from electronic disco-pop and relaxing melodic instrumentals,like this one. "И светлый же этот день" (meaning "Bright Like The Day"), coming from the album "Šviesa" (in English, "The Light") actually reminds me of an ambient song, but its melodic structure is far better developed and far lesser intricated.

"Šviesa" was the second studio album by Argo.

 

This song could also be compared with early '70s space rock, but, of course, if we had to find rock elements here, that could only be on the its (very) soft side. Be as it may, I think this song has its own charm and a dreamy, visionary texture I like very much. Apart from Kuprevicius' keyboards, the bass guitars and the electric guitar create an inner world and a vaguely lysergic mood that I rarely found in a 1980 release.

Inquinamento (Libra, 1975)

Libra are usually considered as an Italian prog band from the '70s, even if just a few of their thacks actually has prog elements in it. This is the case with this long song titled"Inquinamento" ("Pollution" in English) and coming from their debut album "Musica e parole". This music has a fluid structure, with many musical changes and a spoken set of lyrics in romanesco, the local language of Rome and its Region. These lyrics are about pollution, of course, and about the illegal exploitation of Nature.

Libra were from Rome and also liked jazz rock.

 

The music describes such a corruption in an effective way, gathering sweet sounds and dissonant effects in a surprising but never unpleasant series of sketches. I really like the guitars here, so sharp and so... Seventies! Not surprisingly, their kind of prog will prove itself suitable for movie soundtracks and theatrical productions.

Playing The Game (Gentle Giant, 1974)

"The Power And The Glory" comes from Gentle Giant's intermediate era, between the unpredictable early albums and the more mainstream rock late ones. Maybe that's why songs like this "Playing The Game" still have an everchanging structure, including tempo changes, enjoyable sounds, jazz-rock switches and melodic passages, but also are fully enjoyable by all publics. The sung theme is pleasant and original, while the long instrumental passages include progressive interplays and improvisation-like moments.

"The Power And The Glory" was the sixth studio album by GG.

The main theme comes back here and there, and so does the starting riff, giving a well structured plot to the track. As usual with the Giant, the rythm is irregular and the drums include many innovative solutions. The lyrics show the political side of the band, via the character of the King and a coherent metaphor comparing social life to a card play, a concept you'll also find elsewhere in the album. In short, these are Gentle Giant in all their power and glory!

Movement IV (Clearlight, 2003)

You'll find more about Cyrille Verdeaux and his musical creature Clearlight elsewhere in my blog. Suffice to say here that this talented keyboardist and composer came back in 2003 with another spiritual and symphonic work full of magic and involving a dozen musicians. I know I should consider the whole album as a single suite divided into six movements, but I think some of them are stand alone tracks, especially this fourth one.

"Infinite Symphony" was the eighth studio album by Clearlight.

The concept of "Infinite Symphony" is based on Indian religions and links this work to other compositions by Verdeaux. But don't worry: "Movement IV" isn't a new age track, just inteded for relaxation and spiritual isolation. This is a solid progressive composition, where a variety of instruments and themes build up an epic mood where the piano, the winds and the electric violin (played by Trevor Lloyd) play a leading role. I feel an inner energy in this music and I appreciate the open minded arrangements of such a flushing instrumental. Definitely, Clearlight are hard to die.