Don't be deceived by the Roger Dean-like cover art on this one. German band EILIFF was like no other contemporary band playing progressive music in the early seventies. These recordings were taken from a Cologne radio show called "Nachtmusik" which was aired on Nov. 10, 1972. Everything from SOFT MACHINE to early KING CRIMSON can be heard here albeit with much more force and with tinges of Eastern European free-form jazz. The technical prowess of the individual musicians is aptly demonstrated on the highlight track "Hallimasch" which is a free for all blow out jam which features some interesting changes and great Hammond Organ and sax interaction culminating with a crazed psychedelic guitar solo from Persian born guitarist Houshang Nejadepour. Two other tracks are also adventurous interpretations of compositions taken from their album "Girlrls" while "Lilybaeum" was a track which never made it on to a studio album. Fans of bands like SOFT MACHINE, Miles Davis' Bitches Brew sessions and VAN DER GRAAF GENERATOR will not be dissapointed with this excellent live performance from this esoteric and overlooked band.

Live, released in 1999

Track Listings

1. Lilybaeum (4:47)
2. Girlrls (18:47)
3. Hallimasch (15:12)
4. Journey To The Ego (7:45)

Total Time: 46:31


- Bill Brown / bass
- Rainer Brüninghaus / keyboards
- Herbert J. Kalveram / saxophone
- Detlev Landmann / drums
- Houschäng Nejadepour / guita, sitar

Releases information

CD Garden of Delights GOD036 (1999 Germany)
recorded in 1972 at Westdeutscher Rundfunk Cologne



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Casa do Progressivo.

'For Girls Who Grow Plump In The Night' saw Caravan go back to the drawing board after the tepid response to the slightly disappointing 'Waterloo Lily'; some serious line-up reshuffles were around the corner. Dave Sinclair returned to the fold to replace Steve Miller, but Richard Sinclair was in turn replaced by John G.Perry. This album also marked the first appearance on record of viola player Geoffrey Richardson who remains very popular with the fans. This meant that the sound of the band had changed again; the band sound more confident than ever before. The album's success is ultimately proved by the amount of songs here that remain true fan favourites to this day. It is rightly regarded as one of their very best efforts.

The English whimsy of earlier albums has generally been played down, but is still present to a certain extent. The most obvious example of this is on the classic track 'The Dog The Dog He's At It Again', which has some risque but fun lyrics that fit in line with the album title but also the band's earlier songs 'Waterloo Lily' and 'Golf Girl'. This being Caravan, the track has a killer melody that will stick with you for a long time after the track has finished. Another notable thing about this track is that Dave Sinclair has added synthesisers to his artillery; Caravan were seemingly one of the last of the old-wave prog acts to use synthesisers, and it's great to hear Sinclair cut loose in his solo, which is succinct and does the job admirably. The band's way with a tune continues on the beautiful 'Surprise Surprise', which has some wonderful vocals from Hastings and Perry and some fluid, melodic viola lines from Richardson.

The presence of 'Backwards', an old Soft Machine standard (that can be heard on their 'Slightly All The Time' from the classic 'Soft Machine Third'), in the epic 'A Hunting We Shall Go' again reveals they had not cut the ties with their Canterbury Scene heritage. The rest of this track, however, was one of their most musically expansive and elaborate tracks, featuring some lavish orchestrations that predicted the band's project with the New Symphonia in the following year. The band's interplay here is superb, with some gutsy guitar work from Hastings and tight, syncopation-heavy drumming from Richard Coughlan, but it's arguably Geoffrey Richardson who shines most vividly here.

As I hinted, there is a more muscular sound to the band than ever before; some tracks here are their heaviest, most rock- friendly tracks up to that point. 'Memory Lain Hugh' and 'C'thulu Thulu' in particular are notable for this, with some gutsy guitar riffs that must have been something of a surprise for those used to their gentler moments. Both tracks are excellent though; 'Memory Lain Hugh' is a stompalong rocker which segues into the uptempo 'Headloss' which is a more traditional track that again features some fine harmonies from Hastings and Perry. 'C'thulu Thulu' has a quite bleak atmosphere, with an eerie melody and lengthy instrumental section with Dave Sinclair at the top of his game. 'Be Alright/Chance Of A Lifetime' juxtapose the new, heavier Caravan with the older, folkier one, the first part being a John G.Perry-led rocker and the second being a pleasingly mellow Pye Hastings-sang track.

It's fair to say that the album was a resounding success, in terms of updating the band's sound. The album still stands up today, and was arguably the last bona fide 5 star classic album they would record, though subsequent albums have their pleasures too... - Review by salmacis (James Jeffery)

Track Listings

1. Memory Lain, Hugh / Headloss (9:14)
2. Hoedown (3:18)
3. Surprise, surprise (4:05)
4. C'thlu thlu (6:12)
5. The dog, the dog, he's at it again (5:38)
6. Be alright / Chance of a lifetime (6:35)
7. L'auberge du Sanglier / A hunting we shall go / Pengola / Backwards / A hunting we shall go (reprise) (10:05)

Total Time: 45:07

Bonus tracks on remaster (2001):
8. Memory Lain, Hugh / Headloss (9:18)
9. No! ("Be Alright") / Waffle ("Chance of a Lifetime") (5:10)
10. He Who Smelt It Dealt It ("Memory Lain, Hugh") (4:43)
11. Surprise, Surprise (3:15)
12. Derek's Long Thing (11:00)

- Richard Coughlan / drums, percussion, timpani
- Pye Hastings / vocals, elelectric guitar
- John G. Perry / bass, vocals, percussion
- Geoff Richardson / viola
- David Sinclair / keyboards
+ Paul Buckmaster / electric cello (7)
- Tony Coe / clarinet, tenor sax (1)
- Jimmy Hastings / flute (1)
- Rupert Hine / synthesizer (1-2-6)
- Pete King / flute, alto sax (1)
- Harry Klein / clarinet, baritone sax (1)
- Henry Lowther / trumpet(1)
- Jill Pryor / voice (5)
- Chris Pyne / trombone (1)
- Frank Ricotti / congas (2-3-5-7)
- Barry Robinson / flute, piccolo (1)
- Tom Whittle / clarinet, tenor sax (1)

Orchestra arranged by John Bell & Martyn Ford, conducted by M. Ford
Releases information

LP Deram SDLR12 (1973)
CD Polydor Records PO 1836 (1991)
CD Decca 82980 (2001 remaster)


The Aynsley Dunbar Retaliation's second album was much the same as their first, offering competent late-'60s British blues, given a slightly darker cast than was usual for the style via Victor Brox's somber vocals. Like their debut, it was dominated by original material, and as on its predecessor, the compositions were rather routine blues-rock numbers, though they benefited from arrangements by highly skilled players. The best of these tracks were the ones that utilized Brox's gloomy, almost gothic organ, if only because it made them stand out more among the company of the many similar bands recording in the prime of the British blues boom. Otherwise the main fare was straightforward blues-rock that was well played, but rather average and forgettable, the most distinguished ingredient being Dunbar's hard-hitting, swinging drums. If only because it has some original songs that were better than anything on the first album ("Fugitive," "Till Your Lovin' Makes Me Blue," and "Tuesday's Blues," the last of which has some songwriting and guitar work quite similar to Peter Green's late-'60s style in those departments), it's a slightly better listen, though not up to the standards of somewhat similar groups like Fleetwood Mac and John Mayall & the Bluesbreakers []

Track list;
01 Change Your Low Down Ways
02 The Fugitive
03 'Till Your Lovin' Makes Me Blue
04 Now That You've Lost Me
05 I Tried
06 Call My Woman
07 The Devil Drives
08 Low Gear Man
09 Tuesday's Blues
10 Mean Old World


Flor de Loto is a novel Peruvian instrumental act whose young blood is providing an energetic flow of creativity in South American prog scene: they already have a solid cult following in their native country. The material comprised in their eponymous debut album has been written for a 1 ½ year period before the recording sessions took place, and it’s fair to say that the sound production does justice to their overall energy on stage. Their prog style is quite punchy, mostly based on the interplaying between guitar and flute and robustly sustained by a versatile rhythm section: main influences range from “Red”-era KC to early 70s JT and hard rock with heavy touches of jazz-fusion and Peruvian folk, and added nuances of contemporary psychedelia. The opener ‘La Entrada’ kicks off with a languid atmosphere that evokes a sense of mystery before a wild interlude comes in expanding itself right up to the initial motif’s final reprise. The mixture of hard-rock oriented prog and folk that is so effectively displayed in the opening number also works quite well in ‘Ayahuaska’ and ‘El Ritual’ – in many ways you can tell that these tracks are straightforward statements of Flor de Loto’s musical ideology. Tracks 2, 5 & 6 are, IMHO, the album’s most accomplished numbers: they epitomize the band’s essential energy and comprise some of their most complex musical ideas, which gives the musicians the chance to show their skills as well as their interacting abilities more prominently than in any other parts of the album. ‘Libélula’ is an awesome showcase for the band’s penchant for dense atmospheres in a rock context, creating well-sustained contrasts between ascents and descents all the way toward the sinister coda. Meanwhile, ‘El Errante’ simultaneously combines the special majesty of baroque and the intensity of blues-rock without falling into the trappings of excessive self-indulgence, but keeping a clear focus on the basic melodic motifs. Finally, ‘El Niño y el Puerco’ finds the band exploring the realms of jazz-rock with special depth - it includes a splendidly aggressive guitar solo over a African-Peruvian fusionesque rhythm pattern… and it works beautifully! ‘Negativos de una Memoria Inexistente’ comprises two distinct passages: the first one is an explosive metal-oriented tour-de-force in which the flute surprisingly feels at home, while the second one is an ethereal Andean-based motif. 'El Ritual', which has been metioned before, has a very cosmic feel to it, melting the candid touches of folk and the oppressive moods of post-rcok and psychedlic prog in a very effective manner. ‘Flor de Loto’ is a bucolic 3- minute acoustic instrumental that shows the band’s introspective side, bringing a momentary occasion for easy relaxing. The closing track is basically a pretext for each individual member’s soloing: on the basis of a few varying motifs (including a brief reggae passage), the successive guitar, flute, bass and drum solos flow on as a kind of ultimate celebration. A nice ending for a great album: in conclusion, “Flor de Loto” is an excellent debut, and that’s why the namesake band gives us Peruvian prog-heads justified hope for the preservation of good prog music in our country. - Review by Cesar Inca (César Inca Mendoza Loyola)

Track Listings

1. La Llegada (7:20)
2. Libélula (7:22)
3. Negativos de una Memoria Inexistente (6:15)
4. Ayahuaska (4:10)
5. El Errante (9:02)
6. El Niño y el Puerco (7:36)
7. Y (1:55)
8. Ritual (6:28)
9. Flor de Loto (2:53)
10. Suculentas Frutas (9:35)

Total Time: 62:36

- Alonso Herrera / electric and acoustic guitars
- Alejandro Jarrin / bass
- Jorge Puccini / drums, percussion
- Johnny Perez / flute, recorder, zampoña*, midi sequencer

Additional musicians:
- Rafael Valderrama / flute, recorder
- Octavio Castillo / mandolin (4)
- Lalo Williams / synthesizer (8)
Releases information

CD Mylodon Records MyloCD029 (2005)

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By the time I post this review there had been 75 entries that talked about this seminal album (and some people called it as the first prog rock album on earth) of legendary band: King Crimson. I am not going to raise an issue whether or not this was the first or not; as for me personally, the first prog album was Yes “Fragile”. Full stop. It does not matter if in fact the other album(s) came first. Well, .. it matters only when you try to review an album on the basis of “influence” of other bands. Let’s put aside that.

So, why should I give the 76th entry then? As a matter of statistical vote to prove that this is a masterpiece? Or, to counter review for those reviewers who have given less than 4 stars? (Ahem … I always view that people have different views based on taste and background. So I have no problem with it at all). No no no no ….Not all of that things, my friends ….My reason is simple. I’ve just read a great story about the band from its inception (embryo stage) until “The Construction of Light” album through a well- researched book by Sid Smith (got nothing to do with Syd Barrett of Pink Floyd) titled In The Court of King Crimson (Helter Skelter Publishing, 2001 – reprinted 2003). It’s a great book as it was written by a die-hard fan of the band. As Mr. Fripp put at book cover: “Sid Smith’s opinion is worthy of respect”.

Of course I won’t tell you about the book in detail because it’s 346 pages and also what would be “my view” if I take everything from the book? I don’t want to be in the circle of plagiarism. But, the book has given me a powerful nuance and reference to review any album of King Crimson. (If you notice, this is my first review about the band and I want to do it right, with the best available references).

It’s gonna be boring if I review track by track as I used to do it with other prog albums. This time I would do it at album level because you know it well track by track. Let’s do it this way …

The result of a struggling band. This album was a culmination of concerted effort by the band members from the embryonic Giles, Giles & Fripp until it was formalized under the name of KC. It’s important to notice how the band members were not aware at all that they did a great job. In the a.m. book it was mentioned that the making of “21st Century Schizoid Man” albeit it’s the first track but was recorded the last. The song was made through collective efforts by its members and they did not feel that they accomplished something great that rocked the music industry later on. Each member did not pat others for example “Hey great, we did it one”. No, not at all. They just said “OK, that’s it”. (page 59).

The Change master that inpires ….. Yeah …. We know it that this album had created major change in music industry. At that time people never thought a music with powerful riffs and “very” distorted vocal as in the opening track “21st Century …”. Even the first time I listened to this song (sometime in 1976) I thought that my cassette was in trouble. Couple months ago, our local newspaper in my country featured this album in a great details (reviewed by my colleague Tom Malik). What interesting was the prog discussion that followed after the article. It was discussed that the riffs have inspired many heavy metal bands. You may or may not agree with it.

The Music. Now, let’s talk about the music. The overall album has a strong structure offering a variety of styles: progressive rock, ballad with classical touch and avant garde- and overall album offers dark nuance. The music demonstrates catchy and memorable melodies that still valid thru the passage of time. Having listened to “Epitaph” or “I Talk To The Wind” in decades I’m still touched by their melodies. Wonderfully crafted!

If I may advise, it’s not a matter of recommendation. But, if you want to explore prog music, this album is must in your prog collection. Don’t step into prog wagon if you do not own this album yet. Keep on progging! GW, Indonesia.

Note: With an earthquake disaster happening in my country and neighborhood, “Epitaph” might be best to play as condolences for twenty three thousand brothers and sisters who have lost their lives tragically …”Confusion will be my epitaph …” ….South East Asian countries are crying now …(Jakarta, 28 Dec 04) - Review by Gatot (Gatot Widayanto)

Track Listings

1. 21st Century schizoid man Mirrors (7:20)
2. I talk to the wind (6:05)
3. Epitaph (8:47)
a) March for no reason
b) Tomorrow and tomorrow
4. Moonchild (12:11)
a) The dream
b) The illusion
5. The court of the crimson king (9:22)
a) The return of the fire witch
b) The dance of the puppets

Total Time: 43:45

- Robert Fripp / guitar
- Greg Lake / bass guitar, lead vocals
- Ian McDonald / reeds, woodwind, vibes, keyboards, mellotron, vocals
- Michael Giles / drums, percussion, vocals
- Peter Sinfield / words and illumination
Releases information

LP Atlantic 8245 (1969)
CD Virgin 848099 (2001)
CD Plan 9/Caroline 1502
CD Caroline 1502 (1999)
CD EMI 811270
CD Discipline GM UK (2005)


UK - Danger Money (1979)

Having impressed the remaining prog audience and the most open-minded musical press of the late 70s, the combined forces of symph prog and jazz rock stopped being allies and became mutually incompatible while the band was touring. It was clear then that the most unsatisfied parties - jazz purveyors Holdsworth and Bruford - had to leave, and so they did. That left Jobson and Wetton in charge of determining UK’s direction, and that trend was focused on an ELP-ish bombastic symph prog with an incorporated powerful melodic aspect - ELP-ish albeit neither cloning nor ripping off. The trio was completed with the entry of drummer Terry Bozzio, who unfortunately couldn’t afford to let his particular magic develop within the band’s artistic confines, which had already been determined by Jobson and Wetton as more restrained, in order to wash off any remains of the jazzy grandeur that the estranged alumni had provided for the band’s debut album. On the other hand, “Danger Money” turns out to be a more cohesive album, indeed, and anyway, Bozzio can still manage to dispose of some room to display his own percussive skills now and then, appropriately bringing his peculiar sense of energy to the band’s overall sound. IMHO, ‘Caesar’s Palace Blues’ and ‘Carrying No Cross’ stand out as the album’s most accomplished gems. The former is a hard rocking tour-de-force, featuring Jobson’s most explosive electric violin performance ever: the powerful rhythm anchor provided by Wetton and Bozzio proves crucial in order to sustain an appropriate articulation for the incendiary, electrifying fire that keeps itself constantly burning at white-hot level. The latter is an amazing old-fashioned prog suite that dates back from the days of the “UK” album touring. Performed now by the power trio formation, it successfully conveys a solid variation of motifs and moods with robust fluidity. Both gems are showcases for the trio’s ability to interplay masterfully. I find tracks 1-3 less impressive in comparison, but still they are great tracks. ‘The Only Thing She Needs’ is an up tempo piece that comprises some of the best drumming provided by Bozzio: the way he uses his kit as a vehicle for dialogue with Jobson’s keyboard harmonies is awesome, and so are the successive violin and organ solos performed by the latter. Meanwhile, Wetton plays his bass lines as a bridge between his two partners. ‘Rendezvous 6.02’ is a melancholy ballad that conjures images of a lonely pub before the first light of dawn: the romantic atmosphere is delivered with absolute elegance and the complex rhythm patterns are structured with a deceitful air of simplicity - actually, there's a bossa-nova vibe in it that makes it subtly complex in many passages. Oh,and those eerie synth adornments and ambiences during the interlude are simply delicious. The post-apocalytptic lyrics, which set a portrait f solitude among ghosts, adds to the music's ethereal sadness. The namesake opener is the least impressive to me: it certainly is powerful and catchy - that’s undisputed - which makes it an effective opener, but in terms of compositional creativity it turns up to be less satisfactory than the other two aforementioned numbers. Now, let’s talk about ‘Nothing to Lose’. What can I say? It’s a favourite prog guilty pleasure of mine. This prog-pop showcase contains a beautiful violin solo and a clever alternation of 3/4 and 4/4, which makes it quite dynamic; it also comprises an inventive series of keyboard orchestrations that makes the song rise above the ‘intended single’ status. But those silly lyrics and those corny backing harmonies… my God, how they ruin what could have been just a nice prog tune, taking it dangerously closer to ABBA-meets-The Wings territory, instead. What was supposed to be a celebration of self-determination ends up a trivial sing-along about whatever. All in all, my specific objections regarding this particular song (which, as I stated before, I happen to enjoy) won’t stop me from labeling “Danger Money” as an excellent album, a very valuable successor of the amazing debut. - Review by Cesar Inca (César Inca Mendoza Loyola)

Track Listings

1. Danger money (8:12)
2. Rendez-vous (5:00)
3. The only thing she needs (7:53)
4. Caesar's Palace blues (4:42)
5. Nothing to lose (3:57)
6. Carrying no cross (12:20)

Total Time: 42:02

- Terry Bozzio / drums, percussion
- Eddie Jobson / keyboards, electric violin
- John Wetton / lead vocals, bass


Panna Fredda - Uno (1971)

This is an Italian one-shot band that made only one album entitled "Uno". You don't need an Italian dictionary to understand that this means 'one' but to my surprise Panna Fredda showcases two faces on their album! The first and final part features swelling and moving organ play and raw guitar work, to me it sounds a bit like early Eloy (if you disagree, OK but don't disqualify me by using words like ' absurd', respect that music is subjective). It all sounds very sumptuous, mainly due to the heavy Hammond organ chords. But halfway this album Panna Fredda changes their sound to very mellow featuring acoustic guitar, sensitive vocals and medieval-like keyboards, wonderful. An unique album! - Review by Heptade (Allister Thompson)

Track Listings

1. La Paura (6:02)
2. Un Re Senza Reame (5:06)
3. Un Uomo (4:56)
4. Scacco Al Re Lot (4:32)
5. Il Vento, La Luna E Pulcini Blu (9:58)
6. Waiting (3:08)

Total Time: 33:44

- Angelo Giardinelli / guitar, vocals
- Giorgio Brandi / keyboards, guitar
- Filippo Carnevale / guitar, drums
- Carlo Bruno / bass

Releases information

Vinyl magic VM001


This band figures among the pioneers of proto-industrial krautrock next to Kluster. Totally weird and damaged this first release includes four long experimental suites made of disturbing, chaotic, claustrophobic and really dark sounds. The musicians use a wide range of effects obtained by different electronic gadgets, distorted electric elements and collage techniques. "Oneway Trip" starts in pure experimentations to reach the top with an amazing psych-jam made in a total disorder, including an insistent repetitive motif led by the bass guitar. On the edition I've got track number 2 (called "im tempo eines") is entirely built around "samples" taken from an orchestral piece in major. A big and funny contrast compared to the previous tune. A lot of derision, invention and a radical taste for "happening", disappointing revisited classics and non common uses of instruments. Primitive and really non-conventional compositions for a nice essay in "dark waters". We can hear a rather closed musical experience in MOOLAH "Woe Ye Demons Possessed". - Review by philippe (Philippe Blache)

Track Listings

1. Oneway Trip
2. Valiha
3. Breughel's Hochzeitstanz
4. New Atlantis (Islands Near Utopia)


- Odysseus Artnern / various instruments
- Bernd Henninger / various instruments
- Gerd Kraus / various instruments

Various instruments: bass / guitar, vocals / flute, guitar, vocals
Releases information

LP Germanafon 941042 (1969)


This was a total surprise to me! All old versions of the songs on this one are far more better than on the "Sacrifice" album! Kay's vocals bring a strange and wonderful extra element to this music, and it's sad that they didn't continue doing material with the same line-up. I believe that the reason for this was Kay getting a child. I also found the sound from analog source pleasant, and the faint cracks of the vinyl bring a nice extra atmosphere to this release.

I think that the album covers were bit more better on the 1970 version, though there's a funny hidden element on this one (a face of a devil?!). I first thought this was a four star album, but careful listening cleared it out that this is truly an unique masterpiece, and it deserves five stars. The only album by this band you seriously need! - Review by Eetu Pellonpää

Track Listings

1. In ancient days (9:28)
2. Way to power (4:08)
3. Come to the sabbat (4:11)
4. Conjuration (5:53)
5. Seduction (4:41)
6. Attack of the demon (3:57)
7. Sacrifice (10:48)

Total Time: 43:06

- Jim Gannon / lead guitar, vibes, spanish guitar
- Zoot Taylor / organ, piano
- Kip Trevor / lead vocals
- Kay Garret / lead vocals
- Clive Jones / flute, saxophone, clarinet
- Bob Bond / bass guitar
- Clive Box / drums & percussion
Releases information

CD MYS CD 129 (1998)
This album was recorded in 1969. It contains the original versions of material that would be re-recorded and released as the band's debut album 'Sacrifice'.


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