This album marks an era in the band's career where they decided to record a more sophisticated brand of spacy prog, knowing the early '70s guitar/Hammond-organ style explored on "Inside" and "Floating" were reaching a dead-end (and as much as I like those albums, "Floating" does sound a bit behind the times for 1974, but if they recorded that album in 1972, they'd get away with it).

"Power and the Passion" was their first exploration in to the concept album, in this case regarding time travel. They wanted this album to be a double album but their manager Jay Partridge declined, so it was a single album. I doubt there would have been enough good material to make it a double album, but then the production of this album wasn't that great.

Often maligned, it's not really that bad of an album. You get to see the style they'll perfect on following albums like "Ocean", but this was obviously done by the old lineup. Manfred Wieczorke added on some Moog, string synths, and even a little clavinet, although I can't understand why they say he had a Mellotron where I don't notice any. The only new member added this time was additional guitarist Detlef Schwaar.

The album starts off with "Introduction", which that's what it is, an introduction, not much to it, just a prelude played on organ. "Journey into 1358" is a nice spacy piece dominated by string synth, you already get to hear the new direction the band is headed, but when the Hammond organ kicks in, you can tell some of the elements of "Inside" and "Floating" hadn't been totally left behind, as you'll notice on some of the other pieces. "Love Over Six Centuries" involves Jamie's travel back to the year 1358, where he turns on a local medieval girl on to marijuana. Here you get lots of spoken dialog between Frank Bornemann (portraying Jamie) and non-member Mary Davis-Smith (portraying Jeanne, Jamie's would-to-be girlfriend, who loves the experience of smoking weed) against a drone of spacy string synths. "Mutiny" continues in this new spacy direction, consisting of lengthy spacy synth solos, with a bit of a classical influence, before the band gets a bit more heavy with the vocal section. "Mutiny" is mainly a spacy and meloncholic ballad that actually reminds me of PULSAR's "Halloween", even though that would wouldn't be released for another two years (and the only album PULSAR had released at the time - 1975 - was POLLEN). "Daylight" had a bit of a JETHRO TULL-feel, the last piece where Frank Borenemann was trying to sound like Ian ANDERSON. This is another demonstration of the band not entirely leaving their old sound behind. "Thoughts of Home" is a short, clavinet-dominated piece, an instrument, for some strange reason, wouldn't be used on an ELOY album until Hannes Folbert joined the band sometime in 1979 (and used it quite a lot on albums like "Colours" in 1980, "Planets" in 1981, and "Time to Turn" in 1982). "The Zany Magician" seems to have a more heavy metal feel to it, with demented vocals, portraying a zany magician who can help Jamie return home to the present. "Back into the Present" oddly reminds me of KANSAS circa "Song For America" without the violin. A nice, upbeat song demonstrating that with all the technological progress between the years 1358 and 1975, very little social progress has been made (I can relate to that). The song segues in to the spacy ballad, "The Bells of Notre Dame", which is basically a reflective piece where Jamie thinks of Jeanne, even though of course, Jeanne wouldn't be able to live in the present day.

This is truly a nice album to own, not as bad as many of the naysayers say, it might not be as good as "Ocean", of course, but still worth owning. - Review by Proghead (Ben Miler)

Track Listings

1. Introduction (1:10)
2. Jouney Into 1358 (2:56)
3. Love Over Six Centuries (10:05)
4. Mutiny (9:07)
5. Imprisonment (3:12)
6. Daylight (2:38)
7. Thoughts Of Home (1:04)
8. The Zany Magician (2:38)
9. Back Into The Present (3:07)
10. The Bells Of Notre-Dame (6:26)

Total Time: 42:23

Remaster edition bonus track:
11. The Bells Of Notre-Dame

- Frank Bornemann / vocals, guitar
- Luitjen Janssen / bass
- Fritz Randow / drums
- Detlef Schwaar / guitar
- Manfred Wieczorke / keyboards, mellotron
- Mary Davis-Smith / voice (3)
Releases information

LP EMI Electrola - 1C 064-29 602
CD EMI Electrola - CDP 538-7 90971 2
CD EMI Electrola - 7243 5 22760 2 8 (remaster)


This is one of the most well-known brazilian bands around the world, and this is their debut self-titled album, not always the first album is the best, and this isnt an exception, this is not their best IMO. They have a particular sound, something like PFM meets Camel, but anyway, this album is something symphonic, but a bit poppish, that is not so bad, because also poppish could sounds good. Sagrado Coracao da Terra is a band with lots of instuments in their music, here we can find besides the elemental guitars , drums and bass, a nice violin sound in the most of the songs, a very particular and soft piano work and also in the last song we can hear the beautiful sound of a flute.

The lyrics are in portuguese, both, male and female voices, male voice is reminiscent to any italian band, maybe Area or something, its good, and female voice is also good in some songs, symphonic sound predominates here, violin makes it better, some mood changes, the best song i think is A Gloria das Manhas, its the largest song, but good work, but i think in some ways it is a bit boring, because it doesnt have something "new" to show us, this was the first brazilian album that i heard, i think there are better albums.

I`d like to say again that what i think is the most special of this album, is the Violin, its not a superb violin sound, but its always in the best point , in the right place and thats what i enjoy the most here. If you`re looking for some brazilian prog, maybe it is not the best place to start, it is good, but not as good as i thought when i bought it. For that reasons, i think this album deserves 3 stars. - Review by memowakeman (Guillermo Hdez. Urdapilleta)

Track Listings

1. Asas (2:54)
2. Lições da história (4:36)
3. Arte do sol (3:57)
4. A glória das manhãs (7:14)
5. Feliz (0:55)
6. Deus dançarino (2:13)
7. Memória das selvas (2:08)
8. Corpo veleiro (5:05)
9. Sagrado (6:55)
10. A vida é terna (2:30)

Total Time: 38:27

- Inês Brando / piano (6)
- Fernando Campos / Arp Avatar, electrc guitar(9)
- Lincoln Cheib / Pratos (7)
- Gilberto Diniz / bass (5)
- Vanessa Falabella / vocals
- Marquinhos Gaughin / bass
- Giácomo Lombardi / synthesizers (6)
- Alexandre Lopes / acoustic guitar (4-5-8) guitar synthesizer (9)
- Nenen / drums, Timpani
- Paulinho Santos / percussion
- Andersen Viena / fFlute(2-5)
- Marcus Viana / vocals, violins, keyboards, Tympani
- Miriam Rugani Vianna / harp (10)
- Sebastião Vianna / flute (10)
Releases information

CD Sonhos & Sons SSCD002 (1991) Brazil


Now we face a fine SAGRADO album containing 3 noticeable features: a song which was a radio hit in Brazil, a rare deed for a progressive band; great general production and splendid musicianship by band members, with Marcus Viana’s violin plying steadily over all; and a real and definite band bound toward symphonic prog with captivating touches of folk (South American and Celtic) and classics. All tracks are above average, very hearable and certain moments are really jaw-breaking.

As mentioned before, SAGRADO’s “Farol Da Liberdade” left behind the new wave and poppish sounds seen in their previous album and followed the symphonic renaissance trail that is much more in accordance with band members curricula. Lyrics are in Portuguese, with one exception, and I assure that they are fair, touchy, meaningful, and sometimes poignant – vocals transmit softly the poetry emotion.

’Dança das fadas’ is a good overture, a bit sad intro with the violin weeping before Celtic tunes invade the track. The general atmosphere then is clearly joyous and uplifting. After a strange proclamation the dance of the fairies overwhelms the song with charming female vocals.

‘Solidariedade’ starts blending folk and balladesque harmonies, violin transform the song into a notorious symphonic track, very pleasant. From the middle part up to the end the hearer is confronted by a flurry of neat progressive tunes, well placed, including also a smooth choir and an impacting finishing. ‘Amor selvagem’ begins purely classic, band’s influence taken from past masters and more specifically from Italian composers is disposed gently. Lyrics are amazing, vocals and instrumental arrangement contributing hugely to create a dream-like ambient.

‘Pantanal’, the cited radio hit, brings a strong symphonic appeal with folk pigments - again, lyrics do a great work here, rediscovering the Americas 500 years later. The main theme changes abruptly to a typical rock moment, only to give room to an exquisite and remarkable ending. The short ‘Olivia’ is a nice interlude amidst such thunderous tracks.

’Farol da liberdade’, the title-track, weakens a bit album direction – pseudo- neo-prog does not combine properly with SAGRADO's sound. ‘Raio e trovão’ is agreeable but the pretentious folk approach has little impact. Instrumental parts with violin, guitars and keyboards dueling save the track.

’The Central Sun of the Universe’, the only song with English lyrics, provides the album with a great closure. Everything now works almost perfectly, the choir in Portuguese, the pastoral flute solo, the piano accompaniment, the ever-present majestic violin and much more. The song bears the notorious and distinguished band signature, the moment when they act like an orchestra. Male vocals have the clear Brazilian accent which in this case adds some enchantment to the song; female vocals bring some flair of the dear BACAMARTE’s Jane Duboc singer. All beauty perceived along the track is trimmed by a grandiose finale.

SAGRADO CORAÇÃO DA TERRA stood and stand still as a luminescent landmark in the Brazilian, South American, and I dare to say, World progressive music ground and “Farol Da Liberdade”, their 3rd studio album, is indeed an outstanding production just bordering masterpiece realm, a more than recommended addition to any (prog) music collection. - Review by Atkingani ("Guigo" A. Barros)

Track Listings

1. Dança das fadas (5:00)
2. Solidariedade (4:58)
3. Amor selvagem (3:41)
4. Pantanal (4:41)
5. Olivia (1:38)
6. Farol da liberdade (4:29)
7. Raio e trovao (3:45)
8. The central sun of the universe (11:33)

Total Time: 39:45

- Lincoln Cheib / drums
- Ivan Correia / bass
- Ronaldo Pelhicano / keyboards
- Augusto Rennó / guitars
- Paula Santoro / vocals
- Andersen Viana / flutes
- Marcus Viana / vocals, violins, keyboards
- Sebastiao Viana / flute
Releases information

CD Sonhos & Sons SSCD004 (1991) Brazil
CD King Records KICP2726 (1993) Japan


Before starting my review, I have to mention that the Middle-Eastern influence surrounding "Malesh" is greatly exaggerated. For years, I kept reading about how the band travelled around the Middle East (back in 1972), played with local musicians, and recorded local sounds. Well, they could have easily just made the album in Germany. That being said, this is excellent "krautrock". For those of you unfamiliar with krautrock, it's basically a genre of music that started in Germany around 1969 and peaked in the mid-70s. The music is influenced by psychedelic music (both American and English), yet the German musicians set out to create something entirely new. Many bands began to include electronic experiments, African and Middle-Eastern rhythms, Karlheinz Stockhausen-like experiments, local German influences, and industrial-like repetition into the music. For some collectors, the music that came out of the period is greatly overrated, but krautrock fans love its naive charm, and overall weirdness, not to mention that modern rock music owes everything to krautrock(for good or for bad). Okay, on to AGITATION FREE's "Malesh". The majority of the album is made-up of stoner-like jams. Fortunately, the musicians were quite good and sound rather tight on the album. If they did any drugs at the time, it was probably done after the recording sessions. The listener here is quickly treated to psychedelic interplay between bassist, guitarist, organ player, and electronic manipulation. For those of you worried about cliches found in psychedelic music, I have to say that the music here is quite original and unpredicitable. Once in a while I'm reminded of the GRATEFUL DEAD. In fact, the occasional Arabic-like jam on Malesh tends to sound similar to what the Dead were doing at the time. In between the tracks we find short field-recordings made by the band during their visit in Egypt, and Lebanon. Maybe at the time it was new to add "field recordings" to music, but today the idea has been quite accepted. So, the field-recordings here tend to serve as interludes between the longer jam sections. I do have to add that the ending of the album is rather emotional. The band bursts into a finale that is quite powerful, moving, and completely unexpected. In all, I was expecting something more Arabic in nature, but what I got instead sounds equally as good. If you're interested in Krautrock this is the introductory album to get. - Review by Steve Hegede (Steve Hegede)

Track Listings

1. You Play For Us Today (6:08)
2. Sahara City (7:42)
3. Ala Tul (4:50)
4. Pulse (4:43)
5. Khan El Khalili (8:10)
6. Malesch (8:10)
7. Rücksturz (2:09)

Total Time: 41:52

- Peter Michael Hamel / keyboards
- Michael Hoenig / synthesizer, keyboards
- Michel Gunter / bass
- Uli Pop / bongos
- Burghard Rausch / drums, keyboards, vocals
- Jorg Schwenke / guitar
- Lutz Ulbrich / guitar, keyboards
Releases information

LP Vertigo 6360607

Download pass - contramao

My voyage to discover ELOY was quite exhausting yet rewarding. I happened to think that I had already went through most of the English and American prog rock and I started a journey through the Eastern Europe prog. At that time, I had already listened to GROBSCHNITT's "Solar Music", and I thought there could never be anything more fascinating and impressive that very recording. I tried to fetch more German prog and I was recommended to get some works from AMON DÜÜL II, GURU GURU and TRIUMVIRAT, these were passed on to me through the usual prog channels and I was quite amazed by "Dance of the Flames" and "Illusions on a Double Dimple" but never as musically outraged as with ELOY.

My curiosity certainly paid off when I bumped into "Silent Cries and Mighty Echoes". Firstly, I am a helpless fan of the sound of fine keyboards, and Detlev SCHMIDTCHEN earned a spot within my favorite musicians with what he performed in "The Apocalypse"; the best extended suite I ever listened to, right after "Echoes" by PINK FLOYD of course; magnificently entwined with the psychedelic ambience and the provocative instrumentation it's got.

ELOY quickly became one of my favorite bands not only because of its impetuosity and brightness, but for its visionary trend. This German band goes far from the vertiginous musical evolutions and clearly challenges the bands to come to update and improve day by day; ELOY was absolutely one step ahead and one closer to its own era, showing quite an impeccable instrument playing and execution at the time the musical resources were obviously limited due the technological advances.

"Silent Cries and Mighty Echoes" is as essential as almost perfect. It is relentless to your ears, you will never cease of surprising your senses with it. There is no recommendation to be made in here, this album is suggestive from beginning to end. There's no need to say something else, simply wonderful. - Review by landberkdoten (Alberto Ramos)

Track Listings

1. Astral Entrance (3:03)
2. Master Of Sensation (6:00)
3. The Apocalypse (14:54)
a) Silent Cries Divide The Night
b) The Vision Burning
c) Force Majeure
4. Pilot To Paradise (7:01)
5. De Labore Solis (5:12)
6. Mighty Echoes (7:16)

Bonus tracks on remastered edition:
7. Child Migration (4:05)
8. Let the Sun Rise in my Brain (3:29)

Total Time: 51:00

- Frank Bornemann / guitars, vocals
- Klaus-Peter Matziol / bass, pedals, chorus
- Jürgen Rosenthal / drums, percussion
- Detlev Schmidtchen / keyboards, chorus
- Brigitte Witt / vocals (2b)
Releases information

LP EMI Electrola - 1C 064-45 269 (
LP EMI Electrola - 1C 038-15 7579 1
CA EMI Electrola - 1C 264-45 269
CD EMI Electrola - CDP 538-7 92021 2


Eloy - Live (1978)

One of the hidden treasures from the Prog island, recorded in 1978 on tour, on the waves of unique and excellent “Ocean”, it captured Eloy in a conceptual concert based on story of rise and fall of Atlantis, as a reminder of what could happen in the end to us all. Lineup that would make one more progressive gem, 1979 “Silent Cries and Mighty Echoes”, have made an ethereal atmosphere, saved on this record. Spoken introductions, long instrumental passages based mostly on keyboard sound together with melodic bass lines and crying guitar solos, and simple but captivating singing with mystical and unreal lyrics, carries listener to voyage to outer space of mind.

In music of Eloy, all musicians and instruments have their leading and supporting roles. Even bass and drums are used not to be rhythm section, but to contribute in making a spacey atmosphere. Songs are interpreted close to studio versions, and I believe there are two main reasons for that. First is that studio versions are already long enough that there is no need to prolong it by unnecessary improvisations, and the second was intention that lineup that recorded studio version must be in position to play it live on scene, for it is one of the characteristics of progressive music. The only thing that may be under someone’s expectations is singing in English with strong German accent, but that’s how the story goes when someone sings in foreign language. Lineup present on this live record is one that is responsible for great studio issues in 1976-1979 period, with only guitar player left from past times and who would waves the Eloy flag to present times.

The record starts with first half of 1977 “Ocean” album. “Poseidon’s Creation” opens with brief spoken prologue, not present on studio version, and after 5 minutes of instrumental introduction to song and 3 minutes of sung introduction to story, ends with 3 minutes guitar solo. “Incarnation of Legos” is introduced with 4 minutes of mutually sung and spoken words, and after 2 minutes keyboard solo, ends with 3 minutes keyboard and vocal part. Music continues with two tracks from 1976 “Dawn” album. Keyboard and bass dominated “The Sun-song” is prolonged 4 minutes with German spoken introduction, while “The Dance in Doubt and Fear” contains some fine guitar and keyboard soloing. The middle part ends with classic “Mutiny” track from 1975 “Power and the Passion” album, and with “Gliding into Light and Knowledge” keyboard and vocal song from “Dawn”, flawlessly leading into more guitar soloing “Inside” from 1973 “Inside” album. Record concludes with last and longest track from “Ocean”, “Atlantis’ Agony” that starts with 10 minutes spacey keyboards intro interrupted occasionally with few spoken words, and after some fine bass supported chanting and keyboard soloing, ends with keyboards harmonies, guitar soloing, singing that once again reminds us that “we are particles in the ocean”, and finally keyboard and guitar conclusion.

I must say that I had luck to met a friend at the start of 80’s who introduced many German bands to me, like Eloy, Jane, Grobschnitt, Brainticket, Birth Control, Nektar, Epitaph, and to this very day, those music stayed as something special, quite good, and at the same moment quite different from other progressive groups. And among them, Eloy always had a special treatment. That’s the reason why this review is somehow longer, for music absolutely deserves it.

I recommend this record to everyone who already likes 70’s sounding Eloy, for it successfully captured band alive at the peak of creativity. For ones who are new to Eloy, first try albums from 1973-1979 period, and then if You like it, dig out this one. - Review by cedo (Cedomir Bjeletic)

Track Listings

1. Poseidon's Creation (11:37)
2. Incarnation Of Logos (8:46)
3. The Sun-song (8:30)
4. The Dance In Doubt And Fear (7:36)
5. Mutiny (9:56)
6a. Gliding Into Light And Knowledge (4:24)
6b. Inside (6:34)
7. Atlantis' Agony At June 5th - 8498, 13 p.m. Gregorian Earthtime (20:54)

Total Time: 78:17

- Frank Bornemann / vocals, guitars
- Klaus-Peter Matziol / bass, vocals
- Jürgen Rosenthal / drums, percussion, voice
- Detlev Schmidtchen / keyboards
Releases information

Recorded Live On Tour During March 1978
2LP EMI Electrola - 1C 164-32 934/35
CA EMI Electrola - 1C 464-32 936
CD EMI Electrola - 1C 538-7 48503 2


Eloy - Ocean (1977)

I won't forget the day I bought this album. I was already familiar with "Floating", but little did I know what I'll have in store when I bought "Ocean". I was stunned! Progressive space rock taken to the extremes. This was their second album with the new lineup. To me I felt "Dawn" sounded like the band was messing about maybe a little too much, but it's still full of good material. With "Ocean" they really got their stuff together and created one of the most "out there" space rock albums ever! They created a concept album about the rise and destruction of Atlantis, from creation, the rise of civilization, civilization becoming corrupt, and the destruction by the Gods who had enough. At least that's how I interprited the lyrics on the album.

The album starts off with "Poseidon's Creation". The album starts of with some guitar and string synths, eventually the drums and bass kick in. There's a lead guitar solo from Frank Bornemann that sounded like it came of "Meddle", and it's only the late '70s string synths that let you know this is not "Meddle". Eventually the vocals kick in, singing about "Poseidon". The string synths keep staying. Eventually, once the singing is over, is some great Moog and guitar solos. You get to hear the talents of bassist Klaus-Peter Matziol as well, where he gives us a little slap bass. Eventually the song ends with a rather impressive sounding choir (might not be a choir, but the band members themselves). I was completely blown away by "Incarnation of Logos". Mainly it starts off with just Frank Bornemann singing (about the formation of the planets and of Atlantis) and Detlev Schmidtchen giving us some over-the-top string synths. You'll also hear some spoken dialog. Then the music picks up speed with the whole band participating, with some killer synth solos. "Decay of Logos" seems to be about the corruption of Atlantis, greed, lust for power, wars, etc. It starts of with more spacy synths, but eventually it become the more aggressive number on the album, almost verging on hard rock. The last cut, "Atlantis' Agony at June 5 - 8498, 13 PM Gregorian Earthtime" (about the final destruction of Atlantis by the Gods) is most problematic of the album, at least by many. I don't have such a problem myself, but some think the first half is tedious. Here, the song starts off with some narration. The string synths kick in, and keep droning for the next 8 minutes or so. Narrations keep popping up from time to time. But there's more than just synth dronings here. There are bizarre wailing sounds played on an ARP 2600 synthesizer, an out-of-this-world pipe organ (at least, an electronic keyboard that sounds like one), and various other subtleties that often gets overlooked, and maybe that's why I was never bored with it. After that big "pipe organ" at the end, and the final narration, the band finally gets to business. That means, real singing, band participation, the usual great Moog solos, and that overall great spacy feel.

This is totally unreal. There must have been something in the air in Germany in '77 (in the cocaine-dominated world of '77, it seems to me that pot and LSD were still dominant in Germany in '77) to have a record-buying public to make "Ocean" outsell such better known acts as GENESIS and QUEEN in ELOY's home country.

Yes, ELOY has often gotten a bad rap. The singing, the songwriting, etc. Yes, this album is totally '70s, you can't get around that fact. Yes, Frank Bornemann needs some brushing on the English language. But I think this is a way cool album. For those who want off-the-wall spacy prog rock, you can't go wrong here. - Review by Proghead (Ben Miler) - Review by Proghead (Ben Miler)

Track Listings

1. Poseidon's Creation (11:38)
2. Incarnation Of The Logos (8:25)
3. Decay Of The Logos (8:15)
4. Atlantis' Agony At June 5th - 8498, 13 p.m. Gregorian Earthtime (15:35)

Total Time: 43:53

- Frank Bornemann / guitars, vocals
- Klaus-Peter Matziol / basses, vocals
- Jürgen Rosenthal / drums, percussion, flute
- Detlev Schmidtchen / keyboards, mellotron, xylophone, voice
- The Boys Of Santiago / chorus (1)
Releases information

LP EMI Electrola 1C 064-32 596
LP EMI Electrola 1C 038-15 7526 1
CA EMI Electrola 1C ?64-32 596
CA EMI Electrola 1C 238-15 7526 4
CD EMI Electrola CDP 538-7 92020 2


Another excellent German progressive rock band. ANYONE'S DAUGHTER's debut was in the late 70's, so that they use slightly more modern keyboards than prog bands of the 70's, but they still keep an old sound. The music is quite complex: the drums are fast, the bass is sophisticated and not timid at all, the numerous guitars solos are extremely melodic & melancholic, and the keyboards are varied, melodic and elaborated. This is their first album, and probably their best one. There is often the presence of rythmic guitar, distortion free, like CAMEL. The electric guitar is never aggressive, despite some solos are near the hard rock style. Actually, the overall sound and style is similar to CAMEL, in a more melancholic way. The keyboards are often floating too, giving some relaxing ambience. The English lead vocals have a strong German accent, like Triumvirat. I would say this record can be quite sentimental. The first track, "Adonis", is a near 25 minutes of delightful prog rock: you can't stop listen it once started: at the very end, there is one of most POIGNANT guitar solos ever recorded: just hear the sustained notes full of tremolos: U-N-B-E-L-I-E-V-A-B-L-E, despite the sound is not at its best!

The side 2 contains 3 excellent songs: The "Blue House", an emotional combination of moog solos and electric guitars. The second track, "Sally", is a joyful piano+saxes song, full of punchy elaborated bass; again tons of excellent drums & lead vocals. The third song, "Anyone's Daughter", has beautiful cohesion between keyboards, guitars, bass and drums: organ solos and floating keyboards, fast guitar solos, very fast and complex drums.

Yes, "Adonis" is a sad album, melancholic, an emotion transporter. IMO, it is one of the most poignant record in the progressive rock history. - Review by greenback

Track Listings

1. Adonis (24:09)
Part I: Come Away
Part II: The Disguise
Part III: Adonis
Part IV: The Epitaph
2. Blue House (7:20)
3. Sally (4:20)
4. Anyone´s Daughter (9:10)

Total Time: 45:19

- Harald Bareth / bass, lead vocals
- Uwe Karpa / acoustic & electric guitars
- Kono Konopik / drums
- Matthias Ulmer / keyboards, vocals
Releases information

CD Music Is Intelligence WMMS 025 (1993) Germany

Download pass - contramao

This was ANYONE'S DAUGHTER’s 3rd album and represented for them their largest single accomplishment at that point in time with this 40 mins epic track based on a concept fairy tale by Herman Hesse. On "Piktors...", ANYONE DAUGHTER recorded for the first time vocals in native German (as they would with the 2 subsequent albums "In Blau" and "Nerve Sterne") with most of the words actually being spoken (obviously citing and quoting Hesse’s thoughts and words) with all narration put to music. The end product is quite symphonic and quite beautiful throughout with my only wish that I could speak German and catch more of what Bareth and Co. are referring to (maybe someone out there can translate the lyrics for me ?). The album is full of some lovely sonic imagery and some very captivating symphonic progressive rock. This is an album that although I have owned for a long time was personally overshadowed (I will admit) by "Adonis" and their first album (which I love to pieces) and I now consider in the same light as those other albums. - Review by loserboy (James Unger)

Track Listings

1. Piktor (2:12)
2. Erstes Vorspiel (0:41)
3. Erster Teil der Erzählung (2:22)
4. Purpur (2:56)
5. Zweites Vorspiel (0:55)
6. Zweiter Teil der Erzählung (2:19)
7. Der Baum (7:30)
8. Dritter Teil der Erzählung (2:38)
9. Sehnsucht (5:36)
10. Vierter Teil der Erzählung (4:25)
11. Piktoria, Viktoria (0:34)
12. Fünfter Teil der Erzählung (0:40)
13. Der Dopelstern (4:25)

Total Time: 37:13

- Harald Bareth / bass, lead vocals, voice
- Uwe Karpa / guitar
- Kono Konopik / drums
- Matthias Ulmer / keyboards, vocals
Releases information

CD Music Is Intelligence WMMS 033 (1993) Germany

Download pass - contramao

Eela Craig - Eela Craig (1971)

Austria really isn't a hotbed of prog rock, but EELA CRAIG was by and far that country's best known prog rock band, name, for no apparent reason by original guitarist and founder Heinz Gerstmair. This self-entitled album from 1971 is very obscure and known by very few, as it was originally released on a small Austrian label called Pro-Disc and original LPs since commanding around the $500 range (but luckily a small German label called Garden of Delights reissued this on CD, meaning that you shouldn't worry about spending more than $20 to hear this album). While their later albums tended to be synth-heavy symphonic prog, this one tends to the bluesy/jazzy psych/prog realm, with the Wurlitzer electric piano dominated (and Hammond organ on only two cuts). The bluesy nature of this album has to do with original guitarist Heinz Gerstmair, and vocalist Wil Orthofer, while drummer Horst Waber gave the band that jazzy touch, add that on with the flute, organ, and acoustic guitar of Harald Zuschrader, bass of Gerhard Englisch, and electric piano of Hubert Bognermayr, and you have the original EELA CRAIG lineup.

The biggest problem I have with this album is the crappy production, it has that very obvious homemade feel to it, so it's really lacking in the dynamics. But still, it's full of good stuff like the drug-oriented "Selfmade Trip" and "A New Way". "New Born Child" starts off in that psychedelic manner with terrifying screams in the most inappropriate time (when the song slows down, unlike PINK FLOYD's "Careful With That Axe, Eugene", which the song reaches its most intense climax). Despite the flaws, it's a pretty nice piece of underground prog/psych you come to expect from this era. - Review by Proghead (Ben Miler)

Track Listings

1. New born Child (7:45)
2. Selfmade Trip (10:29)
3. A New Way (7:04)
4. Indra Elegy (11:43)
5. Irminsul (2:10)
6. Yggdrasil (3:40)
7. Stories (4:39)
8. Cheese (4:38)

Total Time: 52:08

- Horst Waber / drums
- Harald Zuschrader / organ, flute, guitar, sax
- Hubert Bognermayer / keyboards
- Gerhard English / bass
- Heinz Gerstenmair / guitar, organ, vocals
- Will Orthofer / vocals, sax

Download pass - contramao

In 1976, it was the appropriate moment to release an Ange live album. Their fame is at their peak (in France, and to a certain extent in Belgium) and they have recorded several great symphonic albums. I would say that this live album is a pivotal turnpoint in Ange's career. They will still produce some great albums after this recording but the density of the previous ones will never be matched again.

This live work starts with a trio of songs from "Au Delà du Délire" one of their masterpieces IMO. But unfortunately my two preferred tracks of the album are not featured here ("La Bataille du Sucre" and the title song, a real and extraordinary epic). We'll get three short (but very good) songs to cover this album.

When you listen to the introduction for "Ballade Pour Une Orgie" the sexual mood of the song is highlighted in a rather blunt mood. Attempt to translation.

Talking about a young lady : "and this cyprine that is flowing into your veins let the great moment escape, isn't it sweet to feel the "thing" that penetrates you into your very depths and then you do aaaah (simulating an orgasm). I am not sure about the translation of the French word "Cyprine". It is the liquid secreted by the vagina when a woman is in an excitation state. Remember, we are in 1977. And then the song starts !

There will be one song from their debut album. Actually one of their best one ever written : "Dignité". The live version will be extended to almost sixteen minutes and is one of the great moment of this record. Some instrumental parts sounds more spacey than the original. When the band starts to play it, one can feel that the audience is shivering and so happy to get this track.

To arouse the fans interest, there will be one unedited song here : "Le Chien, La Poubelle Et La Rose". During the presentation of the song (sung by Francis Descamps), one can hear : "This a tale that La Fontaine could have written". La Fontaine is a classic French author from the seventeenth century, very famous for his tales (or fables).

Very medieval mood (as one could have guessed, with such an inspirator) for this long song (over thirteen minutes) featuring a great and long guitar break to close the number. This track would have deserved to be released on an album; but let's not complain, we'll get it live and this version is just superb.

Two songs from "Jacotey". And my preferred two ones of the album. The incredible "Sur la Trace des Fées" and its Crimsonesque and scary mood, and of course "Ode À Emile". A song full of emotion and really passionate. Again two great Ange moments.

What can I say about the last two numbers of this exceptional live set ?

"Hymne À La Vie" is the best one from " Par Les fils De Mandrin" a wonderful epic built crescendo. An hypnotic middle part, a great guitar break, a very emotional vocal performance and a sublime finale. This is symph prog at its best.

From "Cimetière", the title track (and the best number) is omitted but instead we will get a live rendition of the lengendary "Ces Gens Là" from "Le Grand Jaques" as we call him in Belgium (Jacques Brel of course). This is again a poignant moment of this concert (but there are so many). They could not have chosen a better song to close a concert since the final words are "But it is already late, sir. I need to go home".

For such an old release, the sound while not being super, is very decent. The tracklist is extremely good (even if one or two of their greatest songs are not featured - but it will be taken care of in "Un P'tit Tour Et Puis S'en Vont" released in ... 1995. It is also the occasion to feel how good an entertainer Christian Décamps was during a live set.

Of course his little stories between songs are clearly Gabriel oriented. When you listen to the fabulous presentation of ""Hymne À La Vie" you will be convinced. Full of allegories and lots of emotion, indeed.

This live album might be a good entry if you would like to dicover the complew world of this great French band. Five stars of course. - Review by ZowieZiggy (Daniel)

Track Listings

1. Fils De Lumière (4:32)
2. Les Longues Nuits d'Isaac (4:27)
3. Ballade Pour Une Orgie (4:38)
4. Ode à Emile (3.45)
5. Dignité (15:51)
6. Le Chien, La Poubelle Et La Rose (previously unreleased) (13:12)
7. Sur La Trace Des Fées (5:10)
8. Hymne À La Vie: Cantique (5:22)
9. Hymne À La Vie: Procession (5:22)
10. Hymne À La Vie: Hymne (3:00)
11. Ces Gens-Là (6:02)

Total Time: 71:24

- Jean Michel Brezovar / guitar, vocals
- Christian Decamps / keyboards, vocals
- Francis Decamps / keyboards, vocals
- Jean Pierre Guichard / drums
- Daniel Haas / bass, guitar
Releases information

CD Media 7


Eela Craig - One Niter (1976)

It took EELA CRAIG five years between full blown LPs. They did release a single in 1974 ("Stories"/"Cheese") that totally turned away from the bluesy/jazzy psych and prog of their debut, and was to define their symphonic prog sound of the late '70s (specifically "Hats of Glass" as both were re-recorded for that album). By 1976, they were finally recording for Vertigo Records in Germany, giving them exposure outside of Austria. The band now started going hog-wild on all sorts of equipment. The original LP shows the band members with all their gear on the back cover (an analog keyboard lover's dream come true). There's vocalist/keyboardist Hubert Bognermayr (hard to miss him since he was partially bald, although he was always like that, and he was still in his 20s when "One Niter" came out) with a Hammond organ, two VCS-3 synthesizers, a Wurlitzer electric piano, and a couple keyboards I can't recognize (looks like I see an RMI electric piano, but can't be sure). Bassist Gerhard Englisch is standing next to an amplifier, and two bass guitars are standing by it (including a Rickenbacker). Frank Hueber is seen playing his drum set. Vocalist and guitarist Fritz Riedelberger is seen holding a Gibson "The Les Paul", keyboardist/flautist Hubert Schnauer is seen standing next to a vibraphone, and a custom made Mellotron 400 courtesy of EMI, with a black top, and Harald Zuschrader is seen playing his Mini Moog, and although hard to see, I think it's a Hohner D-6 clavinet (as plent is used throughout the album). This photo is taken in some place in the countryside (I wouldn't mind living), with some overgrown vegetation, and some small valley down below. Love the picture of giant sculpture of a telephone, makes me wonder where that is, and if it's still there? Well, not only was the band going hog-wild on their equipment, it also shows they now had three guys handling keyboard duty as well as the usual other prog rock gear. They were going for a more funky-brand of prog rock, often dominated by the clavinet. "Circles" is a four movement suite that starts off with some really loud and startling Mellotron brass, before things quiet down with some synthesizer and very pleasant flute. Then they go in to a killer jam dominated by clavinet and Moog. Then they go in to a gentle ballad. This is where the vocals first appear, courtesy of guitarist Fritz Riedelberger. Then they go back to the Mellotron and pick up speed. "Loner's Rhyme" is the track Hubert Bognermayer handles the vocal duties. The band goes in to an extended solo, including some great Moog solos and funky clavinet, as well as Hammond organ. "One Niter Medley" is a five movement suite, starts off with synthesizer and Mellotron, before you hear a short song from Bach with an experiment in phasing. After that the band goes in to funky jam, before mellowing out with string synths. "Venezuela" is a nice acoustic song with Fritz Riedelberger handling vocals. "Way Down" starts off with some really nice flute and some droning keyboard in the background. Once again they go in to a funky jam before mellowing out and the vocals kick in. You need to get the original LP or the CD reissue from Si-Wan in Korea, because the Symphonic Rock CD is missing "Venezuela" (because they also crammed "Hats of Glass" on that disc, with that album's "Caught on the Air" ommited as well, due to lack of space). A totally wonderful album to have in your collection. - Review by Proghead (Ben Miler)

Track Listings

1. Circles: (13:59)
a) The mighty (5:41)
b) The nude (2:00)
c) The curse (5:05)
d) The blessed (1:13)
2. Loner's rhyme (9:23)
3. One niter medley: (11:03)
a) Benedictus (1:54)
b) Fuge (0:47)
c) U.A.T (3:17)
d) Morning (1:47)
e) One Niter (3:18)
4. Venezuela (3:30)
5. Way Down (7:16)

Total Time: 45:11

- Hubert Bognermayr / keyboards, vocals
- Raoul Burnet / congas (2-4)
- Gerhard Englisch / bass, percussion
- Frank Hueber / drums, percussion
- Alois Janetschko / live mixing
- Fritz Riedelberger / guitars, piano, vocals
- Hubert Schnauer / keyboards, flute
- Harald Zuschrader / keyboards, flute, guitar

Download pass - contramao

Qoph’s first album is a very strange and unique blend of Avant prog mixed with a weird psychedelic progmetal, which is not easily qualified or classed into one genre or the other, with the whole affair being slightly grunge too. The Swedish double guitar (no KB) quintet is always quite energetic, they invite a few musicians to help out on the sax and violin. Qoph took the brave step to sing in Swedish, but unlike some of the more conventional Swedish prog groups like Anglagard or Landberk (where I think it even enhances the atmospheres), it does not work quite as well, and is sometimes even a little derange-some in a few tracks, despite of the music’s crazy and off-the-wall feel. And the jester on the artwork will already give you an idea of what is awaiting you once you pop the disc in your deck.

How to describe this group’s sound except by drawing a wide circle around it and hope that Qoph will somehow fit somewhere inside it. Picture the Red Hot Chilli Pepper, Miriodor, a straight and non-jazz X-Legged Sally with very strong traces of Tool, with some of Plastic People Of The Universe and Jolly Joker hints and you might start to see what I’m getting at. VdGG and Crimson are among the influences you’ll also hear (especially when the sax is around as it sounds like Jaxon meeting Collins and often it veers the music towards organized chaos) in the second track Ta Farval. The bass is often funky and the jumpy feel of some tracks (most noticeably in Nadir I) reminds of RHCP’s ultra technical funk-rock. These guys go nuts very often and are not afraid to push the boundaries with a basic 50’s RnR (the short Nadir III track) and a 60’s (surf- garage-type) one at the start of the closing 14-min monster Radsla, both sufficiently modified and actualised to keep today’s proghead interested & happy, and when then they end the track onto a Johnny Winter-like hard blues rock, but rest assured that the inside core of the track is definitely Tool-esque. For this writer, the highlight of the album is the psychic Herr Qophs Villfarelser track that takes you into almost the 67 Friscoland. Simply excellent!!! The whole albums slides by smoothly and it seems much shorter than it really is, which is a real quality.

This review certainly will not be one of my better one, but I must say that this music is unusual enough for me not being able to talk too well about it, even after four years of owning the album. Nevertheless, this debut album is an impressive mother, which must be at least heard once in your lifetime, even if I will not guarantee you that you will keep the album very often in your rotation once the initial discovery and acquaintance period is over - Review by Sean Trane (Hugues Chantraine)

Track Listings

1. Vansinnet (7:34)
2. Ta farväl (5:56)
3. Än Lyser Manen - Nadir I (6:15)
4. Manvarv - Nadir I (4:53)
5. En Mane Some Ler - Nadir III (1:36)
6. Aldrig Tillbaks (6:20)
7. Herr Qophs Villfarelser (9:37)
8. Förförande Rädsla (13:55)

Total Time: 56:26

- Federico de Costa / drums, percussion
- Robin Kvist / vocals
- Filip Norman / guitar
- Patrick Persson / bass
- Jimmy Wahlsteen / guitar, mandolin


Nuova Idea - Clows (1973)

Here is a great Italian prog album that many would enjoy. NUOVA IDEA's music tends to alternate between heavy prog, where guitar and hammond compete for domination, and mellow prog typical of the period. Their keyboardist reminds me of Rick WAKEMAN, at times, when he plays Hammond. He also plays Moogs, piano, and clavinet. I must warn that some of vocal-parts take getting use to. They are sometimes harsh, overly emotional, and typical of French bands like MONA LISA, and some ANGE. Fortunately, the majority of vocals on this album are done in a typically, softer, Italian style (PFM-like). I also bought their second album "Mr E. Jones", and really enjoy that one. It has a completely different style from "Clowns", and tends to emphasize jamming (at least on side B). - Review by Steve Hegede (Steve Hegede)

Track Listings

1. Clessidra
2. Un'Isola
3. Il Giardino Dei Sogni
4. Clown
5. Una Vita Nuova

- Claudio Ghiglino / guitar, vocals
- Giorgio Usai / keyboards
- Enrico Casagni / bass, flute, vocals
- Paolo Siani / drums, vocals
- Ricky Belloni / guitar, vocals
Releases information

LP Ariston Gnomo AR/LP 12100 (1973)
CD Mellow Records MMP123 (Italy)


Nice, one-shot Italian prog album. It's a bit strange that this only album from MURPLE would only receive a German release on the BASF label, but of course since been reissued on CD (first by Mellow Records, then by Akarma, with LP-type replication). The band seemed to have an unhealthy obsession about penguins, so much so, they believed they made friends with an imaginary penguin, and the whole concept behind "Io Sono Murple" is about the adventures of a penguin. Their stage set included inflatable penguins, not unlike PINK FLOYD giving us inflatable pigs during the "Animals" tour in 1977.

The band consisted of guitarist/vocalist Pino Santamaria, bassist Mario Garbarino, drummer Duilio Sorrenti, and keyboardist/vocalist Pier Carlo Zanco, who handled organ, piano, Eminent, and ARP Odyssey. This might not be the most mindblowing or original prog out there, but for those who enjoy such keyboard-driven prog acts as ELP or Le ORME would find much to enjoy here. The album is rather short, running at just under 35 minutes. It consists of a bunch of short songs that segue in to each other to make a continuous long play, but still remaning completely progressive. The music ranges from intense to more laid- back classically influenced, to jazzy and everything in between. Might not be up there with the best albums from PFM, BANCO, Le ORME, MUSEO ROSENBACH, OSANNA, etc., but this is still an album worth having. - Review by Proghead (Ben Miler)

Track Listings

1. Antartide
2. Metamorfosi
3. Pathos
4. Senza un perché
5. Nessuna scelta
6. Murple rock
7. Preludio e scherzo
8. Tra I filí
9. Variazioni in 6/8
10. Fratello
11. Un mondo cosí
12. Antarplastic

- Mario Garbarino / bass, bongos, triangle
- Pino Santamarià / lead vocals, guitars, chorus
- Duilio Sorrenti / drums, timbales, gong, tympani
- Pier Carlo Zanco / lead vocals, keyboards, synthesizers, bowed contrabass, chorus
Releases information

LP Basf Fare 21 23137 F (1974)
CD Mellow Records MMP 121 (1992)
CD Akarma AK 1035 (2002)


Tarantula - Tarantula (1976)

Long ago that I was looking for this disc, just the 2005 I could obtain a copy of the seal if they wan, surprised much to me the musical proposal of these Spaniards. He is not the typical Spanish who mixes rock with music Andalusian, like Triana, Alameda, Mezquita, Azahar. This group has a particular touch between symphonic rock and, frenetic parts of guitar and other parts with mattresses of keyboards very night watchmen.

The vocals leaves a good impression has much energy and passion, the compositions are not so complex, but if very elaborated, the letters in Spanish (my native language) are rocker without a doubt, speak of holocausto, of dark personages, dreams, nightmares and stories of fantasy. The nothing special, highest of the group is the music, that really transports to an abstract World. It is a group that there is to have, still more that now left a new edition, take advantage of this opportunity, will not regret to buy a jewel of the Spanish rock - Review by ChileProg (Guillermo Ponce Sandoval)

Track Listings

1. Recuerdos (6:00)
2. La Araña Y La Mosca (4:20)
3. Singladura Final (6:16)
4. Un Mundo Anterior (5:49)
5. Imperio Muerto (9:38)
6. La Danza Del Diablo (3:02)
7. Lydia (2:06)
8. Paisajes Pintorescos (7:00)

Total Time: 44:11

- Rafael Cabrera / vocals
- M.G. Peydró / guitars
- Vicente Guillot / keyboards
- José Pereira / bass
- Emilio Santonja / drums
Releases information

Si-wan Records SRMC 4002


This is VERY different from the last few VDGG albums due to a far different lineup. It tends to feel more like a Hammil solo disc at times. While I do miss the organ/sax interplay, the bands new sound (at least in studio) is still excellent, lots of violin (Graham Smith) and piano as its foundation, driven along by Guy Evan's ferocious drumming and Nic Potter's (returning one last time) thick fuzzy bass lines.

The real highlights are "Sphynx In The Face", "The Siren Song", "Last Frame", "The Wave and Cat's Eye / Yellow Fever (Running)". Hammil's lyrical imagery is nothing less than top-notch.

A great swan song. - Review by The Owl (Phil McKenna)

Track Listings

1. Lizard Play (4:29)
2. The Habit of the Broken Heart (4:40)
3. The Siren Song (6:04)
4. Last Frame (6:13)
5. The Wave (3:14)
6. Cat's Eye / Yellow Fever (Running) (5:20)
7. The Sphinx in the Face (5:58)
8. Chemical World (6:10)
9. The Sphinx Returns (1:12)

Total time: 43:20

Bonus tracks on remaster (2005):
10. Door (3:28)
11. The Wave (instrumental) (3:03)
12. Ship of Fools (single version) (3:43)

- Graham Smith / violin, viola
- Nic Potter / bass
- Peter Hammill / vocals, guitars, keyboards
- Guy Evans / drums, percussion

- David Jackson / saxes
Releases information

LP Charisma Records Ltd. (1977)
NOTE: The name of the group at that time was Van der Graaf (without the word "Generator").
CD Virgin Records Ltd. (2005 remaster)


The instrumental music of Hidria Spacefolk features a wide palette of instruments and styles, creating a genuine sonic ambient jungle. Although one can inevitably compare them to Ozric Tentacles, their point of view and playing are completely different. They are less agressive, less heavy metal and trance driven than the english band, nonetheless Hidria Spacefolk manages to create soundscapes quite innovative and trippy by mixing many genres like psychedelic, folk, world and reggae music. Pieces of music here evolve fluidly, progressively and harmiously. The tunes contains many changes, but are flawless and prevent the listener from losing his attention... And now, back to the record itself.

HDRSF-01 is the first effort from the finnish band and really impress in many ways. The overture track, Amos Ame, is a perfect example of the band's fluid and soft sound. Its pleasant electronic introduction goes on with a pretty guitar evolving melody with more and more psychedelic folk instrumental waves. The tune will offer spanish guitar and reggae passages with a bass quite reminiscent of Eloy' Dawn. Beautiful and flawless. Kafar-I is carved in the same stone, in a more jazzy and spacey way. You will heard wah-wah guitars fighting in the skies ! The enchantment goes on with Sindran Rastafan and its powerful electronic rock middle-oriental feel. This tune reminds a lot ok Kingston Wall's II. Gnomen is the first pure electronic track featured on the EP. Its introduction ressembles to Hallucinogen's Horrogram with digeridoo an percussions. Very catchy ! The disc ends with the calm Marastronaut, maybe the most mysterious and ambient track here. At first glance, the song is really relaxing and trippy, but suddenly becomes angrier and ends in an unknown tribal place. For that, it is nearly as Steve Hillage played the final guitar part !

Hidria Spacefolk is truely an original band to discover, especially if you're into Hawkwind, Gong and Ozric Tentacles ! Highly recommended 21th century psychedelic music ! 4,5 stars ! - Review by Modrigue (Nico)

Track Listings

1. Amos Ame (9:30)
2. Kafar-I (7:23)
3. Sindran Rastafan (9:20)
4. Gnomen (4:03)
5. Marastronaut (4:57)

Total Time: 35:13

- Kimmo Dammert / bass
- Mikko Happo / electric guitar, digeridoo, posthorn
- Teemu Kilponen / drums, percussion
- Janne Lounatvuori / rhodes, synthesizers
- Sami Wirkkala / acoustic, electric and midi guitar, jawharp, percussion

Guest musician:
- Teemu Väisänen / flute
Releases information

Author's edition - can be obtained at


Colosseum were one of the earliest progressive bands, but also in many ways were pioneers of the emerging 'jazz rock/fusion' style. Although hardly the first band to attempt such a fusion, Colosseum were one of the most popular acts at the time, and tended to make jazz accessible to the rock masses as their compositions were often tighter than many working within the jazz rock realm at this point.

This album saw Chris Farlowe, veteran blues singer, join the band. Whilst on the surface this doesn't seem to be a natural fusion, in fact Farlowe was doubtless already familiar with the members as he'd played in the same R & B circuit of the 60s; indeed Dave Greenslade had been in Farlowe's band for a time. Much respected guitarist Clem Clempson of Bakerloo also replaced the vocalist/guitarist James Litherland, and Mark Clarke replaced Tony Reeves, soon to re-emerge in Greenslade, a Colosseum spin off, of course. The resulting album, 'Daughter Of Time', saw a heavier accent on rock than previous efforts, but is still an utterly superb album; Farlowe's vocals are remarkably good here, and he fitted in far better with Colosseum than he did in Atomic Rooster.

'Three Score and Ten, Amen' is one of the most dramatic openers to any prog album. It's introduced by some staggeringly declarative vocal choirs, crunching guitars and powerful percussion, before Farlowe's uptempo vocals and Clarke's bass add a touch of funk to proceedings. Farlowe then gets more melodramatic, bellowing out the chorus, that introduces a funk rock section with powerful guitar work and a more pensive narrated section, leading to a gloriously overblown climax with squealing vocals from Farlowe. All in all, a thrilling ride, and it's stupendously produced.

'Time Lament' is a more typical piece, beginning with an intricate jazz section with saxophone and percussion to the fore, plus some neat orchestrations. The main melody is quite complex, and superbly handled by Chris Farlowe, yet the honours are won by a thrilling solo section where the whole band trade off feats of virtuosity, with Clem Clempson being particularly outstanding.

'Take Me Back To Doomsday' has a Chicago like vibe, thanks to a neat keyboard and bass heavy intro, with some wonderfully florid piano lines by Dave Greenslade, before the main melody kicks in. The riff is quite beefy and heavy, with powerful guitar riffing and bass playing to the fore, and some superb sax solos. Clem Clempson delivers perhaps his finest vocal performance too.

'Daughter Of Time' is a very dramatic piece, with superb keyboard work and saxophone to the fore, yet the drumming of Jon Hiseman and a furiously melodramatic vocal from Chris Farlowe steal the show on this superb track. - Review by salmacis (James Jeffery)

Track Listings

1. Three Score And Ten, Amen (5:36)
2. Time Lament (6:04)
3. Take Me Back To Doomsday (4:26)
4. The Daughter Of Time (3:30)
5. Theme For An Imaginary Western (4:05)
6. Bring Out Your Dead (4:25)
7. Downhill And Shadows (6:11)
8. The Time Machine (8:12)

Total Time: 42:29

- Jon Hiseman / drums
- Dick-Heckstall-Smith / saxes
- Dave Greenslade / organ, piano, vibes
- Clem Clempson / guitar, vocals
- Mark Clarke / bass
- Chris Farlowe / vocals

+ Barbara Thompson / flute, saxes
- Louis Cennamo / bass
Releases information

LP Vertigo 6360 017 (1970)
CD Sequel 1007-2 (1996)
Expanded edition: Sanctuary Records Group Ltd SMRCD119 (2004) with this bonus track: Jumping Off The Sun (1971 Chris Farlowe version)


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