Le cerf volant (Atoll, 1977)

Among the many good tracks released by this French band, I decided tointroduce in my blog this instrumental and relaxing one, taken from the album "Tertio", a rather accessible LP, compared with its precedessors. The first and most important reason of my choice is the spacey, atmosferic and hypnotic mood of the song, bravely exploring all the arcane features of a genre that, back in1977, seemed to belong to history.

The title says it all: "Tertio" was Atoll's third album.

But Atoll still had so much to say and to play, as this magic essay proves very well. Electronic keyboards and an elegant electric guitar are the main features of "Le cerf volant", but I also like André Balzer's delicate and variated drumming. The whole song perfectly depicts the flight of a kite (that's the meaning of the song title in English) high in a blue sky, and the sense of freedom it always suggests. More than a song, this is a vivid, persistent kind of dream.

I Talk to The Wind (King Crimson, 1969)

This blog is full of tracks coming from King Crimson's debut album, but I think such a masterpiece deserves even more than this. "I Talk to The Wind" is a long slow tempo, pastoral, hypnotic ballad I don't need to describe this one, as any prog fan knows it well. I'd like to say instead why I keep on listening to this song, 'cause there are several good reasons for that.

A press photograph for King Crimson's debut album.

First of all, Greg Lake's vocals, so imperturbable and out of this material world, then the woodwind coming in and out the song, just like the real wind Sinfield's lyrics are about. How could I describe the stillness, the ethereal mood of this track? And how could anyone explain the neatness and disarming beauty of the melody? Last but not least, a special mention to Michael Giles' drumming, so soft and effective. In short, I better like to listen once more to this track than to go on talking about it. All in all, I'd talk to the wind...

E mi viene da pensare (Banco del Mutuo Soccorso, 1979)

This is a short song, but surely one of the most moving ones I came across during my listener's career. Taken from the album "Canto di Primavera" - an underrated one, IMHO - it's a slow tempo ballad based on a delicate and deep parallel between creativity and Spring. Such a song proves how a prog song can be plain and effective, sensitive and essential. 

 "Canto di Primavera" was the eigth Banco's studio album.

Of course, there is a beautiful instrumental section and the whole arrangement is elegant and neat, but the strongest point in this track is no doubt the melody - so airy and original - along with the vocal performance. The lyrics are also a jewel: "And I happen to think about the enthusiam grown along the road, it was almost a duty to show all my cards and I felt as smart as an idea you can't stop...". Smart, yes, that's the right word!

500 songs... celebrate on Facebook too!

Two announcements today: firstly, next song will be number 500 on this blog. Thank you all for being so patient.

And - secondly - Prog Rock Little Place can now celebrate this goal on Facebook too!

Yes, for those of you provided with a Facebook profile will find PRLP here:

https://www.facebook.com/profile.php?id=100008284247378

Of course, you can also search Facebook for "Prog Rock Little Place" and you'll find me. Once again, thank you for all your kindness and interest.

Kanaan (Amon Düül II, 1969)

I immediately confess that I'm not into krautrock, especially that kind of krautrock that freely explore the outer limits of the musical Galaxy. But then, as anyone else, I appreciate many tracks from those open minded and uncompromising artists. Amon Düül II are among the best flowers of krautrock golden season. "Kanaan", taken from their debut album "Phallus Dei" (not a politically correct title, I'm afraid), is one of my favourite tracks of theirs. It has an enthralling rythm and begins with a highly creative drumming, then here comes in the sitar giving the right ethnic flavour to the song.

"Kanaan" is the opening track of "Phallus Dei".

The short sung passage is almost a spoken one, but please don't miss the final section, ruled by the electric guitar and ending up with freaky electronic devices in crescendo. That's simply amazing. In four minutes or so, the whole Flower Power world is condensed (the band came out of a hippy commune, after all), with a bonus European point of view. This is also the track I usually recommend for those needing a starting point to a trip into the '70s German rock. An excellent appetizer, I daresay.

No Sanctuary (Queensrÿche, 1984)

I'm not particularly fond of the hardest incarnations of prog, but I sometimes come across tracks like this one and say: "Well, that's great... and prog!". "No Sanctuary", taken from the album "The Warning", is basically a so-called powerful ballad (who on Earth invented this label?) and still it has all the main features of my favourite genre: tempo changes, skillful playing, beautiful melodies, and also a rather complex arrangement. Then, I must admit, Geoff Tate's voice is perfect, being strong and sensitive in the same time, so well supported here by the rest of the band's vocal harmonies.

This was the band's first proper album, after a self-titled EP.

The mood is somewhat suspended out of time, and it seems to me a gate is opening to another dimension, especially during the quietest instrumental interlude. There are so many different colours in the soundscape of this track, so many emotions, so many fires we see from a distance. In short, I recommend it to my open minded prog friends out there. And to the non-prog ones, too.

Nine Feet Underground (Caravan, 1971)

If I had to single out one track as the most representative one of the so called Canterbury Sound, I'd likely choose this one, taken from the masterpiece album "In The Land of Grey And Pink". Mind you, this isn't just because it is a long eight-part suitre (and anyone knows I like suites), no, it's the lush, eclectic, warming and brilliant architecture of this song that always captures my attention. Take those gentle and slightly jazz keyboards, for example. They seem to come from a distance, maybe from nine feet underground, and still they are so neat and strong that each time I listen to them, I'd ask for more.

Caravan during the early '70s. Canterbury rules.

The rare sung sections are somewhat linked to the beat-blues era and the choral harmonies always come in to add a '70s smell to these vocal flowers. And the guitars are rich ,nd flushing. Now a special mention for the tempo changes. These ones are particularly dynamic during the central sections, including some supernatural effects - the scary "Make it 76" - and an assortment of keyboard and guitar solos. I don't need to recommend such a famous track, of course, perhaps I can suggest one more listening... just in case.