The Apocalypse (Eloy, 1979)

One of the most spacey tracks in the huge production of Eloy surely is this "The Apocalypse", coming from the album "Silent Cries And Mighty Echoes". The Floydian influence is very strong here, nonetheless the song has its own special flavour. Electronic sounds and electric guitars guide the listener through the three parts of this suite, titled "Silent Cries and Mighty Echoes", "The Vision - Burning" and "Force Majeure". The sci-fi atmosphere and an underlying tension give to "The Apocalypse" an epic mood, while the changes rivet the listener's attention.

This album was the seventh studio album by Eloy.

The sounds are chosen with a sure taste and keenly mixed, and also the sung parts are very well written, so that the track has a solid melodic structure. Here and there, a touch of vintage keyboards and a beautiful female voice à la The Great Gig in The Sky create a pleasant contrast with the up-to-date background. I really like the alien landscapes Eloy can conjure up, something that many neo-prog bands were going to imitate. A good song for the dreaming part of any prog lover.

Delad verklighet (Bo Hansson, 1972)

Taken from the "Magician's Hat" album ("Ur Trollkarlens Hatt" in Swedish Language), this instrumental track (titled "Divided Reality" in the international release) is somewhat different from most of Hansson's songs. Not only it includes a wider instrumentation surrounding Bo's keyboards, but it also develops its theme over different moods and tempos... in short, it's progger than ever. It sounds like a band's brainchild, and in fact many musicians are involved, especially guitarist Kenny Håkansson and Sten Bergman's flute.

This album was released in both Swedish and English editions.

The folk inspiration, a trademark of Bo Hansson, is gently mixed with a vaguely rock background and even the melodies are less ethereal than usual, so that it seems to me this track has a real pumping heart, something I couldn't say for the entire album. Try it and let this music carry you along strange and enchanted paths.

En el hospicio (Pastoral, 1975)

This title track, taken from the second studio work of Argentinian duo Pastoral, is a very good example of simple and effective folk rock with many and welcome elements of prog rock. The plain ballad forming the essential part of the song is enriched by electric guitar bridges, well done vocal harmonies, a touch of keys and a coherent, discreet drumming. The track starts with a bare acoustic guitar plus vocals intro, then the other instruments come in and here you are a soft and rather easy version of progressive rock.

Pastoral were Alejandro De Michele and Miguel Angel Erausquin.

Even if the song is a very short one, I can tell some strong points, like the guitar solo (a very good one, believe me), the organ underlining the chorus and - of course - the final reprise of the acoustic intro. If you read or speak Spanish, you'll also find interesting lyrics, in the vein of protest songs, a popular genre during the '70s. If you don't, then enjoy the music... it should be enough to re-listen "En el hospicio" very soon.

Siberian Khatru (Yes, 1972)

Just think this 8 minutes and more song is the shortest one from "Close to The Edge" album! Its opening guitar riff is legend and so are the following intricate bass line and vocal harmonies. Of course, you'll also find here two solos (not too long, to say the truth): one for Steve Howe's guitar and one for Rick Wakeman's keyboards. All is perfectly "yes": the alternate themes, the vocal largos, the thick and irregular rythms, the tempo changes, the circular structure with the outro resuming the intro, and so on.

That's what I call a Dream Team!

Did you notice I didn't mention Jon Anderson? Well, that's because any reader of my little blog knows too well how much I like his voice, so... I take him for granted! And after all, "Siberian Khatru" is one of the great classics from the Golden Era of prog rock: I just couldn't forget to add such a masterpiece to my collection! Listen to it one more time... I'm doing so right now.

Vent du Midi (Bellaphon, 1987)

This long instrumental track by Japanese band Bellaphon, coming from their album "Firefly" has a very special mood and an even better structure. Based on a keyboard theme, "Vent du Midi" ("Southern Wind", more or less) also has a beautiful guitar work and a very diversified rythmic structure. Sure, you'll find some immediately recognizable '80s sounds, but the general effect is so good that you'll certainly forgive such a lesser fault.

Ther album tracklist reveals a French inspiration.

I really like the central break, giving a classical twist to the song and introducing a more lively part and a series of further changes. Those musical turning stages are IMHO the strongest point of the track, but I think this is one of those prog songs you just have to follow with your eyes closed and your heart open wide. Try and let me know...

Introspect (Cathedral, 1978)

The entire "Stained Glass Stories" album by Cathedral is a prog gem and this "Introspect" will prove my point. Deep and diversified, full of charming atmospheres and sharp changes, this song could be adopted as a progressive rock manifesto. The vocals are delicate and inspired, while all the instruments play original, unpredictable partitions. Take the bass guitar and its winding lines, the Crimson-esque keyboard or the wide spectrum drums à la Phil Collins. And what about the acoustic coda?

The boys behind this beautiful music in the CD edition of the album.

No commercial compromise here, still not a single note of "Introspect" is too difficult or too experimental to be fully enjoyable. An universe of emotions and secret landscapes flows gently before the listener's ears and gets into his soul. Too bad they disbanded so soon: Cathedral could have strongly shaped the prog rock canons. But then, this album surely did so.

Mediterraneo (Pooh, 1975)

This instrumental track comes from "Un po' del nostro tempo migliore", luckily the best and proggest album by Italian pop band Pooh, one of the most popular Italian acts ever. Dodi Battaglia's guitars are (as usual with Pooh) the main feature of "Mediterraneo" and they actually draw a Mediterranean sketch, full of sweetness and strong colours. The other instruments come in discreetely and a background choir finishes the picture.

A Victorian drawing room for Pooh.

You couldn't imagine anything more Italian, nonetheless the tubular bells plus the mandolin provide a clear reference to Mike Oldfield's debuit work and the original LP package has a Victorian taste. It's a distressing and delicate pattern, a highly evocative and descriptive track I still like after so many listening sessions...