According to the cover of First Album, this trio was discovered by Dicky Tarrach, drummer in The Rattles, Propeller, Wonderland and Brave New World. The album was recorded at Windrose Dumont Time Studio in Hamburg with Tarrach as producer and additional help from Achim Reichel (bass) and Hans Lampe (percussion, later member of La Dusseldorf and Neu). The resulting product was in many ways similar to Propeller or British band Family in their heaviest mood. As a whole, it is somewhat easy-going. The hard rock material (nine tracks in all) was lacking in both originality and catchy tunes. A single ("Get Me, If You Want" coupled with "Hollywood Dreams") was lifted from the album, another one ("Why Do People Cry" coupled with "Run Through The Past") featured original songs, possibly scheduled for a second Reprise album (which never appeared). Three more Excalibur songs were. included on the obscure Hells Angels In Rock sampler, released on Jaguar 1974: "Danger Zone", "Join The Club" and "Love Circle" These were the last traces of Excalibur.
The Embrooks are not so much a mod revival outfit -- although that description would certainly do -- as a freakbeat revival group, if that mini-genre could be coined. Their sound is very much 1966-based, owing a great deal to the mod power pop sound of the Who and Who-type British acts of that time, as well as some to Continental (particularly Dutch) mid-'60s bands. There's enough guitar distortion tinge to their rave-ups to qualify for the freakbeat tag: mod on the verge of becoming psychedelic, but retaining a hard guitar pop base. The trio was formed in late 1996 by bassist/vocalist Mole (ex-Mystreated/Stewed), guitarist/vocalist Alessandro Cozzi Lepri (ex-Head & the Hares), and drummer Lois Tozer. As of 2000 they had released two albums and four singles/EPs, with their American debut, Our New Day, issued by Voxx that year. ~ Richie Unterberger, All Music Guide
side A: 1/ Through a Somber Galaxy - 6'00 2/ Behind the Walls of Imagination - 6'25 3/ Time to Turn - 4'32 4/ Magic Mirrors - 5'25 side B: 5/ End of an Odyssey - 9'25 6/ The Flash - 5'34 7/ Say Is It True - 4'45
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
1. "Smallcreep's Day" (Total Time 24:38)
I. Between the Tick & the Tock – 3:59
II. Working In Line – 3:07
III. After Hours – 1:45
IV. Cats and Rats (In This Neighbourhood) – 4:50
V. Smallcreep Alone – 1:33
VI. Out Into the Daylight – 3:49
VII. At the End of the Day – 5:35
2. "Moonshine" – 6:23
3. "Time and Time Again" – 4:52
4. "Romani" – 5:25
5. "Every Road" – 4:13
6. "Overnight Job" – 5:43
RUPHUS is probably one of the most important 70’s Norwegian hard rock band with progressive tendencies (there were a few of those back then: AUNT MARY, TITANIC, POPOL VUH / ACE etc..) but their music evolution would differ greatly from those groups. Their debut "A New Born Day" is certainly one of the best Norwegian albums with a very exciting sound and its extraordinarily communicative enthusiasm, even if a bit dated. But three members left after the album release and a new singer was found for their second album "Ranshart", a more progressive record looking towards YES and FOCUS, but it was not quite as exciting as the debut. Future jazz-rock legend Terje Rypdal produced their third album "Let Your Light Shine", a jazz-rock album that had much success in Germany, but again, personnel change struck at the worst of times, but their fourth album "Inner Voice" continued the formula, but further changes undermined the group, eventually folding at the end of the decade to general indifference.
RUPHUS’s discography is interesting to a few types of progheads from the more symphonic ones to the more fusional ones. ~ Hugues Chantraine
Responsible for another extremely rare one-off album on Deram, Room offers progressive rock with strong bluesy overtones and even some excursions into jazzy territory, without ever leaving their rock foundations. A host of instruments, both strings and brass enliven the music, though at times it tends to get a bit too brassy. Jane Kevern sings well, but without much ability for different moods. Luckily the guitar parts are good too, so although more diversity in atmosphere would have made the record excellent, it is now not more than plain good. The arrangement of the final track Cemetery Junction with its unexpected foray into late 19th century symphonical, lifts this cut above the rest. This in fact refers to the major traffic crossroads in central Bournemouth (where the band were resident at the time).
A Blandford Forum band, they won an NME 'Beat Contest'. Shortly after Pre-Flight was released John Hutcheson, who'd been in Ginger Man with drummer Bob Jenkins, joined the band on organ. ~ (Marcel Koopman)
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