In Haze of Time (Trespass, 2002)

When I first read this band's name I imagined a Genesis inspired act, surely not the first one. But when I listened to their debut album and to the title track I'm introducing here, I changed my mind. There's a vintage prog mood, sure, but as varied and eclectic as possible, with many changes, inspirations and good surprises. Old good '70s keyboards, yes, but also jazzy moments, choral arrangements, folk passages and proto-prog scents.

Trespass is a powerful trio... you'd say they're more than three!

 

A funny, rich, pleasant mix from one of the best Israeli prog bands I know of. In addiction to this, a catchy but not trivial sung theme... something I never dislike when it comes with such a colourful instrumental abundance. So, if you want to tumble back the years and also you like to discover something new, this is your cup of tea.

The Water (Light, 1972)

These Dutch musicians went out with their first album in 1972, with a concept about Moses story and they managed to release just this good album based on glorious keyboards sound. In particular, this opening track we can roughly divide into three different parts is pleasant and full of good ideas. Nothing really new under the sun, of course, but all very well written, arranged and played. The first section is a pastoral instrumental, then you'll find a spoken intro to the short sung section and a finale where keys finally introduce a jazzy electric guitar  and a closing hippy-era choir.

A not so well known example of early Dutch prog.

You'll appreciate a succession of good themes and a slightly acid electric guitar floating on a sea of keyboards. Mostly instrumental and melodic, this song also includes some rythmic accellerations,  good largos. If you like that kind of liquid prog that flows down between enchanted landscapes, well, this track will certainly suit you. Just a final note: this band is not to be confused with another and more recent Dutch act bearing the same name.

Já nejsem já (Ota Petřina, 1978)

A rather vast production of prog or prog related rock sprung up in Eastern Europe between 1973 and the early '80s.  Ota Petřina is one of the finest authors of that wave and he released the album "Super-Robot", probably his best one, in 1978 under a label band bearing his own name. This track, "Já nejsem já" (something like "I'm not myself"in English), opens the LP.

Ota Petřina also released an extended 2-CD version of this album in 2009.

It's a mellow and spacey epic, very well written and played, somewhat reminiscent of the most known British prog heroes, but with a special, introspective and pulsing sound of its own. Also the lyrics in Czech contribute to that, and even more do so the delicate acoustic interludes, breaking the ruling keyboard / bass guitar interplays. I really enjoy this song each time I listen to it and so I hope yo'll do.

The Hour Candle (A Song for My Father) (Camel, 1996)

This long track (9 minutes of good music and 14 more of gull and sea effects) comes from Camel's "Harbour of Tears" album, a concept based on Irish emigration to America. The sweet, sad, bluesy Latimer's electric guitar solo is the most magic moment of the song, but I like every bit of it (well, maybe not so the final gulls and waves...), as the main theme is simply magnificent and all the variations are worth Camel's long and glorious history.

"Harbour of Tears" is my favourite album by Camel after the '70s.

The a cappella reprise of the traditionsl Irish Air opening the album is also very good and acts as a bridge between the proper song and the sea sounds coming after a minute or so of silence. Camel succeed IMHO in describing the sadness of leaving one's home country and breaking maybe forever all family and friendship links. Heartbreaking, that's the word.

Introduzione (Il Balletto di Bronzo, 1972)

This Italian band really made an excellent album back in 1972 called "Ys" and this is its opening suite. Arcane and complex, including many different rythms, tempos and moods, this 15 minutes composition features all the strong points of this concept album, based on a SF plot and vaguely inspired by Celtic legends. The sung melodies are never easy and seldom are on the verge of recitative singing, while the intricate interplays emphasize all the musicians' skills and especially the spectacular sound of Gianni Leone's multiple keyboards.

With this album BDB fully embraced progressive rock.



You'll certainly appreciate the choral arrangements, rather on the classical and experimental side, I'd say. The central instrumental passage also includes a wild guitar solo by Lino Ajello and the passage from this section to the next sung theme is one of my favourite moments of the track. In conclusion, this isn't at all a mellow Italian prog song and you'd better prepare your ears to a challenging listening.

Breaking The Spell (Pendragon, 1993)

If you ask Pendragon fans to choose the most representative Pendragon's song, many of them will likely say "Breaking The Spell", from 1993 "Windows of Life" album. In fact, this song has in it all the main musical features of Nick Barrett's band: a beautiful melody, before all the rest, well written and well arranged.

Nick Barrett in a 2009 concert. Photo from "Background Magazine".

Then, in no particular order: airy and majestic guitar solos, philosophical lyrics about human life and its meaning, spacey keyboards provided by Mr. Clive Nolan and, last but not least, a good deal of emotions. The changes are pleasant and sweep away any boredom risks, something Barrett's last solo would have prevented in any case. Pendragon at their best, I certify that.

In The Wake of The Moon (Galleon, 2010)

Galleon like to change and even if their music always keeps its more or less traditional neo-prog path, they know how to diversify the moods, the tempos and the sounds too. Here, in this 2010 album title track, they choose a melodic, slow, rather melancholy way, making the most of a beautiful theme and following a lunar inspiration both in music and lyrics.

This is the ninth studio album by Galleon.

 

Nostalgy and sweet sadness rule the song and I rarely listened to a more beutiful track into such a dark mood. A million light years from the bombastic prog rock of Galleon's first CDs and even so a fully Galleon song, with all the intense and keen keyboards / guitars interplays they are famous for. Please listen to this at night, in a cosy room, looking out from the window at a starry sky. If you don't have the cosy room nor the starry sky, well, close your eyes...