unknown:
It really IS a masterpiece, and IMHO their best album, ex aequo with "Pamiec". Raw, progressive, fusion improvisations, heavy (sometimes they sound like early Sabbath) riffs, psychedelic guitar, incredibly thick drum parts and whirling moogs perfectly compiled with gentle piano parts by Jуzef Skrzek. The general sound of the album reminds me of ELP's early tracks, such as "Tank", "Take a pebble", "Trilogy" etc.
The reason why I didn't give 'em five stars is the somewhat irritating melo-recitation track "Ballda o 5 glodnych", probably inspired by The Doors' "Horse Lattitudes". Well, one might like it. Personally, I'm not sure... The track causes a particularly negative thing to an album, which, in spite of the fact that is compilled of five or six single tracks with their own, autonomic structure, sounds as a one, long, half-improvised piece of music, an endless river of sound, which, somewhere in the middle of the cd, breaks to reveal a mixture psychedelically chaotic noises, whispers and screams (even if the poem is quite good) SBB is acclaimed as the best Polish rock band of the past 45 years. "The three musicians that revolutionized Polish rock", "Beyond doubt the most prominent representatives of progressive rock in Poland": it is only a mere sample of the way the band has been referred to. A complete list of references and opinions would be far too long to quote. Yet apart from the groups formidable and praiseworthy history one must not forget that SBB is in the first place an active band, far from being dormant, regularly giving live performances and shunning to choose a soft option as far as music is concerned. Invariably Seeking, Breaking and Building... Silesian Blues Band emerged in 1971 in the Polish town of Siemianowice Slaskie as a trio led by Jуzef Skrzek, a young and promising bass player and pianist who by then had already had almost a year's experience with a blues band called Breakout. The initial line-up saw, apart from the group's leader, two individuals: Apostolis "Lakis" Anthimos (g), a 17-year-old Polish-born son of Greek immigrants, and Jerzy Piotrowski (dr). The dense schedule of rehearsals, regular gigs in the Silesia region and earliest radio sessions have all resulted in the band's winning substantial acclaim beyond their native region. By the end of 1971 Silesian Blues Band commenced their cooperation with Czeslaw Niemen: a group called Niemen was subsequently formed and was to last for more than eighteen months. They toured Europe (a famous appearance at the Rock and Jazz Now Festival, Munich) and Poland as well, releasing a total of four studio albums. The summer of 1973 saw the group's breakup as Czeslaw Niemen formed a new band Niemen Aerolit. In the meantime, Silesian Blues Band was transfigured into SBB - the famous abbreviation was soon to be deciphered as "Seek, Break, Build", an idea ascribed to Franciszek Walicki, the group's early patron.
The band's first official release, which was a live album, was recorded on the 18th and 19th of April 1974, barely two months after the musicians' public debut as [SBB]. The first pressing - a true record in the history of Polish music industry - was immediately sold out (the asking price on the black market doubled twice). The album contained vivid and reckless music recalling Jimmy Hendrix and Cream, abounding with hectic guitar solos and distorted bass lines (one of the group's trademarks of that time!), as well as quite a few lyrical piano pieces.
The following months brought an overwhelming number of performances throughout Poland and other early east block countries; the band appeared regularly in East Germany, Czechoslovakia and Hungary. Along with numerous gigs a considerable number of radio sessions followed; recordings were initially made in the Polish Radio 3 studios in Warsaw, then in Opole. Out of these sessions SBB's second album, [NEW HORIZON], was compiled. Shortly after that two successive releases saw the daylight, namely [MEMORY] and [WITH A WORD IN HAND I RUN TO YOU]. Every new album was stylistically more and more distant from the unrestrained free-rock featured on the first record; instead, the band experimented with carefully-studied synthesizer-based musical pieces, quite expanded in their form, and indulged them in the lavish multi-track technique. Simultaneously, the group worked with other musicians during collaborative projects and concerts (Tomasz Stanko and Tomasz Szukalski - leading Polish jazzmen, Halina Frackowiak - a popular pop-rock singer, to mention only a few).
In 1977 SBB eventually found a representative in the Western market (German company Aries from Gottingen). This resulted in launching a tour in West Germany, Denmark, Finland and other countries from behind the "steel curtain". In November 1977 the group recorded their first album that was intended to hit the Western market [FOLLOW MY DREAM]. The following year saw the release of [WELCOME] and the band touring constantly (a memorable appearance at the Roskilde Festival, Denmark). Fearing to neglect the Eastern public, the group went on to record further albums in East Germany and Czechoslovakia.
Weariness came in 1979. Strenuous toil of the past years finally marked its presence. The arrival of a new member, Slawomir Piwowar (g, formerly Paradox and Niemen Aerolit) helped to eliminate the deadly pressure. His emergence turned out to be truly refreshing after the band has returned triumphantly from the local seaside tour. In 1980 the enhanced line-up recorded a fabulous album called [MEMENTO WITH A BANAL TRYPTYCH]. Though it turned out to be the last album of that era, it was no doubt the most mature of all the band's releases and clearly showed the way that SBB has gone so far. The group's autumn tour in West Germany was their very last...
An opportunity for the band's comeback came in July 1991 with the event called "Three Decades of Rock" organized in Sopot by Franciszek Walicki. However, this one-time mediocre gig did not trigger any further actions. The next time SBB were asked to perform live was in 1993 during a charity concert in Katowice. A decision was made to once again enlarge the personnel; subsequently, SBB turned into a quintet with Janusz Hryniewicz (voc, acc g) and Andrzej Rusek (gb) appearing as guests. The new line-up went on tour in 1993 and 1994 to eventually set off for a series of concerts in Polish-American clubs in the US. The tour ended up with a new MC release [LIVE IN AMERICA '94] and a final collapse of the band merged with Piotrowski's decision to stay in America.
1998 saw the bands yet another comeback, this time with Miroslaw Muzykant, a young drummer who had formerly appeared in Jozef Skrzek's various solo projects. The new line-up recorded three live albums that featured remakes of old material and one new track [QUITE CALM TIREDNESS]. Before too long the presence of Muzykant became debatable, especially after a number of musical disputes between Apostolis and him. Muzykant eventually quit after his final appearance with SBB at Waltrop in December 1999, thus leaving the band drummer less before their planned gig in Herzogenaurach, Germany (May 2000). An idea for his replacement came from Marek Komar, SBB's friend and fan, director of Pat Metheny's European Fan-club. This is how Paul Wertico (formerly Pat Metheny Group) joined SBB for the German gig and ultimately stayed. Thus the group entered the new millennium with a brand new intercontinental line-up.
The spring tour of 2001 (Germany, Czech Republic, Poland) was truly commemorated Wertico's membership. During a short break between concerts the band recorded a few new tracks that later appeared on the EP [THE GOLDEN HARP] - Propast Studio, near Prague. More gigs followed and the new personnel have become stable enough to enter the studio and venture upon recording new material. This is how we saw the release of [MOODS] - the first studio album since 1980.
The following two years were filled with regular though rare meetings and gigs; promotional actions were undertaken in order to promote [MOODS] as well as a number of archive materials (CDs: SOPOT '78, KARLSTAD '75, GOTTINGEN '77 and JAZZ JAMBOREE '79 - DVD).
In May 2004 SBB once again hit the stage in Poland with a series of five enthusiastically-received gigs. The band's onstage energy promises a lot. The musicians wisely penetrate their past and pick up what is best in it in order to merge it with a bunch of new ideas and constantly seek, break and build... More gigs will soon follow. A new album is also underway, working title: [NEW CENTURY].
reviews from GePR: Salem Hill is headed up by guitarist/vocalist/primary writer/keyboardist Carl Groves. Influences can be heard (the usual culprits - particularly Pink Floyd, Kings X, Kansas, Rush, Yes, and Crimson) - but Salem Hill goes beyond their influences and definitely has a sound of their own. While there first 2 CDs can be said to be progressive or at least have progressive leanings, depending on how you evaluate such things (and in any case are very good in their own right), it's their later three that are most worth checking out. Catatonia is a concept album. The songs tell the story of a guy disillusioned with life with some peculiar characteristics and I'll leave it to the reader to inquire further about the story if interested. Musically, it's primarily guitar oriented prog - with some keyboards added by Groves and Michael Ayers (who later joined Salem Hill). The Robbery of Murder is shows more musical growth and diversity, as well as a more intriguing story. Ayers joined Salem Hill so there's more going on between the guitars and keyboards. Not Everybody's Gold is not a concept album, but it contains the best music Salem Hill has put out (in my opinion). The keyboards are more integrated on this CD. The gem among all the tracks is "Sweet Home Suite" which is over 20 minutes long and is rich in instrumentation, complex time changes and polyrhythms, advanced harmonies, etc. - beyond that - it is truly orchestrated, not just arranged for a rock band. This track alone is worth buying the CD for. The rest of the CD contains some excellent progrock as well. -- Mike Tennenbaum
Rumor had it after the release of Not Everybody's Gold that the band was on the verge of breaking up. This has been confirmed by the band, and in fact they had decided to call it quits. They called the recording of NEG everything from "not much fun" to "excruciating". Michael Ayers in particular wanted to dissolve the band. However, the original four members of the band (Michael Dearing - guitars, Carl Groves - vocals, guitars, keys, Kevin Thomas - drums, vocals and Patrick Henry - bass) got back together to do one more recording to fulfill a contractual agreement with Cyclops and suddenly discovered they were having a great time again. So, they are back together and working on a new album, tentatively titled Be, and they are shooting for a mid-2003 release date. It is supposed to Be another concept album. -- Fred Trafton
progarchives:
Corsican band Rialzu (Revival in Corsican) was formed in the early 1970's, released only one album, U Rigiru, in 1978, disappeared into oblivion only to be resurrected in 2008 with the reissue of their album by the Soleil Zeuhl label.
The roots of Rialzu can be traced back to an initial meeting of 4 young musicians in Avignon, France at a Jesuit school, as guitarist Gilles Renne recalls in the booklet of the reissued album. Corsican organist Christophe Mac Daniel, his then drummer brother Francois and bassist Patrick Bataille were the three others who initially formed the not yet named Rialzu with its ever changing names.
They would meet in the summer vacations in Corsica at the Mac Daniel's home to practice and perform. Their beginning was that of playing cover versions of bands such as Santana, Chicago and Pink Floyd, slowly shifting to more elaborate music by Genesis, King Crimson, Yes and Magma who would eventually, as Renne writes, be a major influence.
some review from The Spanish Progressive Rock Encyclopedia:
Spanish progressive band that had an album Hombre Tierra Y Alma that echoes strongly of the 70's italian scene with a strong folk- influenced feel in a way similar to Banco or PFM. Highly recommended. (?)
A Spanish Progressive band with a few albums out. The only one I've heard is their third, El Hijo Del Alba. At the very beginning it sounds like it might be a little bit weak, along the lines of Synergy or something, only much less interesting. However, this is quickly left behind and the album becomes much more interesting, at least in its variety. Bloque blend synth and Spanish vocals with electric and acoustic guitar (lots of electric) in a wide variety of styles. Vaguely Celtic folk melodies, acoustic ballads with melodic guitar solos that make me think of a Spanish Allman Brothers (for lack of better comparison), heavy riffing with feisty guitar solos like many a UK rock band (say, a cross between Thin Lizzy and Black Sabbath), upbeat rock 'n' roll songs with backing horns, driving passages that remind of the Italian band Osanna and much more: these (inadequately) hint at the diversity of styles heard on just the first side of the album. The band sure can't be faulted for standing still! The second side is more Progressive (also more better, to use a cajun phrase) with several songs (mostly guitar excursions, some synth) held together by a recurring theme stated by keyboards and guitar. The problem is that the album as a whole doesn't sound cohesive but instead like a mere collection of songs. The first side fails to build excitement and anticipation for the second side instead, I become confused as to the purpose and direction of the band. Too, the bassist and drummer play in a simple rhythm without much variation which fails to draw me into the music. Not bad, but I can't seem to get real excited about this particular album. However, it is enough to make me curious about some of their earlier albums. Basically, if you can find it at a deal, snatch it up. But there are several other bands more worthy of your long green if you are still exploring or on a limited budget. (?)
Bloque is certainly one of the best groups to come from the '70s Spanish scene. Their style is best described as guitar-oriented melodic prog rock. That is not to say that they do not use keyboards, but certainly the guitar is the focal point. Vocals are in Spanish, of course. Their best is Musica Para La Libertad which includes the incredible instrumental track, "Tau Ceti," which is guaranteed to make guitar fans drool. El Hijo del Alba is also excellent. If you are still hungry, get the second one. Their first is rather poor and only for completists. Juan Joy
I think that Hombre, Tierra y Alma is one of the most coherent and touching symphonic rock albums ever done in Spain. Absolutely a must. The spanish progressive of the 70's was strongly influenced by the jazz, flamenco and hard rock, and Bloque was one of the bands that played a purest symphonic rock. Is this why is one of my favourites? In 1999 they released a new CD, recorded live with old themes and some others previously unrelseased.
Dreams Fantasies & Nightmares: La Biblia was their magnum opus. A concept album based on the Holy Bible! It's mostly guitar-driven and on cuts like Genesis, Moises and Profecías there are plenty of pleasing and melodic guitar moments. Contrast is provided too by the fast-paced heavy rocker Las Guerras and the slower, melodic guitar of Libros Sapienciales. There's a lush orchestrated intro on Cristo Y Nacimento and the final cut Apocalipsis is notable for some good axework. Yody Godoy left the group during the recording sessions for this album. To help promote it axeman Nacho Smilari (ex-La Barra de Chocolate) joined up. This line-up recorded a non-album single, Donde Has Esatdo Tedo Este Tiempo.
For their next album Jeremías Piers De Plomo the trio reverted back to a hard rock and blues format epitomised by the title cut. It's notable for Soulé's fine guitar and harmonica playing. It includes a reasonably pleasant ballad Sin Separamos Más, the title track, which along with Ritmo Y Blues Con Armónicas, appeared on a rare picture sleeve single, and Detrás Del Vidrio, which came in two parts. Juntando Semillas En El Suelo had a decidely country feel to it and Esta Noche No Parere Igual veered more towards blues.
Cuero Caliente was a re-recording of their debut album with one cut No Es Por Falta De Suerte omitted. In its place appeared two single cuts Azúcar Amarga and Dr. Jekill. Overall, it comes across better than Caliente. Vox Dei appeared in the movie "Rock Hasta Que Se Pong El Sol" playing Jeremias, Pies De Plomo and Las Guerras. Unfortunately, it was not captured on the obligatory soundtrack album.
style: prog country: argentina audio: mp3 (320k) size: 87mb
Progarchives: Formed by Cesar Banana Pueyrredon (b. in Buenos Aires, 1952), BANANA play a somewhat typical symphonic prog with a strong emphasis on guitar and vocals. The youngest of eight children, Cesar's rather timid disposition prompted him to take refuge in piano playing. He took lessons, attended the Catholic University (Argentina) and got together with brothers and friends for a few jams. Eventually, they decided to take on the name BANANA and in 1979, they released an album which boasted honourable sales in South America (Uruguay, Chile, Paraguay, Costa Rica, Guatemala and Panama). Their album, entitled "Aun Es Tiempo De Sonar", is at times very good, at times quite average prog. The music shows a variety of influences ranging from YES to NEKTAR, FOCUS, KAIPA, GENESIS and CAMEL. Though their sound is very melodic and the guitar most prominent, the rhythm section is pretty basic and the keyboards (mostly Fender Rhodes) are usually relegated to the background. As for the vocals, they are fairly abundant but sound rather AORish, or crooner style, if you like. What this album lacks is perhaps a little Latin flair - something similar to what their fellow countrymen ESPIRITU do. This definitely would give their material a bit more punch and originality. Certainly not essential but has its fine moments, if only for the few times the synths burst forth, adding a whole new dimension to their sound.
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