Oldish Psych and Prog

genre: symph prog
country: germany
quality : lossless (ape, cue+log+scans)
time: 40`28" size: 233 mb
issue: 1999

Cosmic Dreams:
Wallenstein were one of Germany's best known "space rock" bands, clearly indebted to Pink Floyd but also developing a personal style of their own. Jurgen Dollase founded the group Blitzkrieg as an international group with Bill Barone (from the USA), Jerry Berkers (from the Netherlands) and Harald Grosskopf (from Germany!). Dollase had previously studied art and classical music. In late Autumn 1971 Blitzkrieg had the repertoire ready for an album, but as a British group already was using the name "Blitzkrieg", the German group changed their name to Wallenstein and kept Blitzkrieg as the title of their first album. This featured four very long tracks in a symphonic progressive rock style (all written by Dollase) and almost completely instrumental. Dense, complex and powerful stuff!
Mother Universe (1972) pictured Dollase's grandma on the sleeve acting as the grandmother of our universe. Musically this was a more dynamic album, introducing some quieter, folky passages with acoustic guitar between the more usual powerful and pompous electric guitar and organ outbursts. Jerry Berkers wanted to do more of these folky things, and quit Wallenstein to record his own solo album Unterwegs - which musically I find it to be in a rather dull singer & songwriter tradition. After Dollase and Grosskopf had taken part in the large scale projects Lord Krishna von Goloka (Sergius Golowin), Tarot (Walter Wegmuller) and the Cosmic Jokers-sessions, they recorded Cosmic Century (1973) in September 1973. This album brought another change of style, clearly influenced by Dollase's recent "cosmic" experiences. It was marketed as the first album by the 'symphonic rock orchestra Wallenstein' (text on the sleeve). It consisted of five refined symphonic rock tracks and a short piano piece. Dollase's strained vocal parts lowered the overall standard of this album, but apart from this the music was good! Sadly this was to be their last great album...
Stories, Songs & Symphonies (1975) attempted to bring in more conventional rock and jazz styles for a kind of extended fusion, but was largely an artistic failure. Only their adaptation of Bartok's music on "Symphaty for Bela Bartok" was of much interest. The rest represented Dollase's failed attempts to be a serious singer-songwriter. Wallenstein split in 1975 and Bill Barone returned to the USA. Harald Grosskopf was engaged as the drummer for Klaus Schulze, Ashra and more recently Central Europe Performance.
 

genre: prog
country: uk
quality : lossless (ape tracks, cue, log, scans)
time: 44`57" size: 265 mb
issue: 2003 Japan

01 - Arthur 7:30
02 - Lady Of The Lake 0:46
03 - Guinevere 6:49
04 - Sir Lancelot And The Black Knight 5:23
05 - Merlin The Magician 8:55
06 - Sir Galahad 5:52
07 - The Last Battle 9:43
(R.Wakeman)

Rick Wakeman - Keyboards
Ashley Holt - Vocals
Gary Pickford-Hopkins - Vocals
Jeffrey Crampton - Guitars
Roger Newell - Bass
Barney James - Drums
John Hodson - Percussion
Wil Malone - Orch Arrangement
David Measham - Conductor
David Katz - Orch Coordination
Terry Taplin - Narration

Produced by Rick Wakeman
Original sound recording made by A&M Records Inc Ltd are exclusive licenses for the United Kingdom
Rondor Music (London) Ltd
p 1975 A&M Recods
 

genre: blues
country: us
quality : lossless (ape, cue+log+cover)
time: 1:17`01"
size: 364 mb (compilation)

01 - Heartattack and Vine 4:45
02 - Eggs and Sausage (In a Cadillac With Susan Michelson) 4:23
03 - A Sight for Sore Eyes 4:41
04 - Whistlin' Past the Graveyard 3:16
05 - Burma Shave 6:34
06 - Step Right Up 5:41
07 - Ol' '55 3:58
08 - I Never Talk to Strangers - with Bette Midler 3:39
09 - Mr. Siegal 5:14
10 - Jersey Girl 5:11
11 - Christmas Card from a Hooker in Minneapolis 4:32
12 - Blue Valentines 5:51
13 - (Looking For) The Heart Of Saturday Night 3:52
14 - Muriel 3:34
15 - Wrong Side of the Road 5:14
16 - Tom Traubert's Blues (Four Sheets to the Wind in Copenhagen) 6:35

genre: beat
country: us
quality : mp3 (256k)
time: 31`39"
size: 58 mb


Their 7th lp:

1. You Won't Lead Me On
2. I Want to Walk With You
3. Think Kindly Baby
4. Out of Our Tree
5. It's You Along
6. Bad Trip
7. Hold
8. My Girl
9. Turn and Run
10. Sit in My Room
11. Tears Don't Have to Fall
12. I'm Looking Down at You

genre: blues
country: us
quality : mp3 (320k)
time: 1:40`00"
size: 227 mb

Fuzz Acid & Flowers:
This white blues-band simply burst onto the New York music scene between 1965 and 1966. Group member Katz had previously played with The Even Dozen Jug Band, whilst Flanders had been in the Boston-based Trolls. In his early days, Al Kooper was a Tin Pan Alley/Brill Building production writer (This Diamond Ring, Who Wears Short Shorts, etc.) and was with Bob Dylan on Highway 61 Revisited and Blonde On Blonde, playing the organ in a way that would influence many American and English groups. Kooper kept on doing sessions with New York based singers during his stay with the group.

The band were offered a residency at the Cafe A Go Go in Greenwich Village in 1966. Here, their first 'live' album was recorded and highly acclaimed. The band were one of the city's main live attractions playing three concerts in Central Park in the same year. Flanders left before follow-up albums Projections and At The Town Hall which also found the band in fine form. Incidentally, Projections was produced by Tom Wilson.

Unfortunately, friction developed in the band, with Kooper and Katz eventually leaving to torm Blood, Sweat and Tears. Their next effort Planned Obsolescence, hinted at what was to become Seatrain, including one track entitled Nairt Aes Hornpipe ("Seatrain" backwards). After it's release Kulberg, Greene, Kretmar, Gregory and Blumenfeld moved to the West Coast to form the first Seatrain line-up.

1971 saw Kalb and Blumenfeld attempting to revive the group with Flanders, Kretmar and David Cohen (ex-Country Joe and The Fish). This lineup recorded the under-rated Lazarus in London, under the guidance of Shel Talmy. Guitarist Lussenden was added for the Blues Project album. The band eventually split in 1972, but were reunited in early 1973 for a one-off gig in Central Park which MCA recorded and released on an album.

The Blue Project are usually considered one of New York's finest bands and their first three albums (two of which capture their exciting 'live' sound) are recommended if you can obtain them.

Tommy Flanders left the Blues Project at the request of Verve Records, who wanted to pursue his career as a solo artist, but dropped him after his first recording, the splendid Moonstone (Verve Forecast FTS-3075) 1969. After the group finally disappeared, he moved to California and left the music business to pursue a career as a male model for catalogues and later worked for an advertising agency.

In 1969, Danny Kalb issued an excellent blues album with another ex-Even Dozen Jug Band member, Stefan Grossman, Crosscurrents (Cotillion SD 9007) and also backed the blues singer Jimmy Witherspoon on his Bluesway albums. Of fragile health (apparently reinforced by an involuntary "chemically induced" nervous breakdown in 1969), Kalb did not perform for nearly five years, only coming out of his hiatus to perform at the Live At Central Park Reunion, and record the two reformation albums. He stopped recording between 1973 and 1993, until the release of an acoustic blues album in France on Legend Records.

Roy Blumenfeld kept on doing sessions with Mark Spoelstra and many others. He is still recording with Nick Gravenites (Don't Feed The Animals, 1994).

No Time Like The Right Time their best known song can be found on Lenny Kaye's Nuggets, compilation and on Nuggets, Vol. 11.

... Read more »

genre: rock
country: uk
quality : lossless (ape, tracks+scans)
time: 1:15`05" (compilation)
size: 434 mb

Tapestry of Delights:
Spedding was born on 17 June 1944 in Sheffield. He is best known as highly-rated session guitarist. He joined Peter Brown's Battered Ornaments in 1967 having previously been in various obscure dance and jazz bands. After they split in 1969 he recorded his first two solo albums, though they made little impact. His debut album, produced by Andrew King, was a very disappointing effort influenced by Bob Dylan and The Byrds, but most of the material was directionless. The second was slightly better. There was also a third Songs Without Words, which only got released on the Continent. He was also with the short-lived Sounds Nice in 1969. In 1971 he joined The Jack Bruce Band playing on both his solo albums. He also had an eighteen month spell with Ian Carr's Nucleus before concentrating on session guitar work with Lulu, John Cale and Dusty Springfield among others.

In Autumn 1972 he formed Sharks with ex-Free bassist Andy Fraser and enhanced his reputation as a rock guitarist considerably during his stay. After their demise in November 1974 he again returned to session work, touring with John Cale and Roy Harper before signing to Mickie Most's RAK label. This lead to a dreadful commercial punk-type single Motor Bikin', which got into the Top 20 (there's no accounting for taste). This was followed by the inevitable solo album. He also played with Bryan Ferry in 1976. He went on to record further solo albums and was a 'member' of The Wombles!, but it was as a session guitarist that he performed best.

Mean And Moody, released in 1985, compiled material from his two Harvest albums. Eight tracks were taken from Backwood Progression including the opening instrumental 'overture' For What We Are About To Hear which leads into the title track itself. The remaining seven tracks are from The Only Lick I Know, including the rockin' title track, the country/soul influenced Dark End Of The Street and the upbeat White Lady. The album also came with a detailed appraisal of Spedding's career written by Roger Dopson.

genre: pop rock
country: poland
quality : lossless (ape, vinyl rip 24bit 94kHz, tracks)
time: 37`59"
size: 742 mb
issue: Reedycja 1986 PN SX 2326

EastRock:
One of the most commercially successful rock bands in Poland in 60s and 70s, Skaldowie was founded in Krakow in the summer of 1965 by Andrzej Zielinski (piano, organ, vocals), Jacek Zielinski (vocals, trumpet, violin), Feliks Naglicki (bass),Zygmunt Kaczmarski (guitar, vocals), Janusz Kaczmarski (guitar) and Jerzy Fasinski (drums).
Easy-listening pop songs with catchy melodies, strongly influenced by Polish musical traditions, made the band an immediate success even before they made first recordings. Skaldowie won four grand prix at the National Song Festivals in Krakow and Opole in 1965 and 1966, appeared in TV series ‘Listy Spiewajace’ (‘Singing Letters’) and two movies: ‘Mocne Uderzenie’, premiered in 1967, and ‘Cierpkie Dlogi’, premiered in 1966.
However, the ambition of Zielinski brothers to add even more folklore elements to band’s music caused an internal breakup. Fasinski and Kaczmarski brothers left to follow Western music fashion. In came Jan Budziaszek (drums), Marek Jamrozy (guitar) and Tadeusz Gogosz (bass). Further personnel changes followed in late 1967 with Naglicki and Gogosz leaving, and Jerzy Tarsinski (guitar) and Konrad Ratynski (bass) coming in.
Skaldowie started the next year with another movie score, further national festival appearances and first tour of USSR. 1968 promised to be highly successful, but band’s story nearly ended in midsummer’s car accident. However, all members survived, and by the end of the year band was again ready to tour and record. Early 1969 saw the release of band’s own documentary movie and third LP – ‘Cala jestes w skowronkah’ (usually translated as ‘They Say You’re In Love With Larks’), probably the best of their pop releases. USA and Kanada tours followed. Skaldowie came home only in early 1970 with newly-bought ‘Hammond’ organ and new ideas for their first progressive album – ‘Od wschodu do zachody slonca’ (‘From Sunrise To Sunset’), thus starting a tradition of releasing innovative progressive and easy-listening pop LPs in turns.
Early 70s brought more success with UK and West Germany tours, the latter including appearance at 1972 Olympic games in Munich, and release of ‘Krywan Krywan’ – one of the most exciting progressive albums in history Polish music.
However, a concept of simultaneous release of pop and progressive albums, winning at the beginning, failed by mid 70s, and by that time Skaldowie almost lost a sense of musical direction. All late-70s albums seem but a pale copy of early releases.
Band went to USSR again in 1980 to perform at Moscow Olympic games and recorded still unreleased double album ‘Zostaw to mlodszym’ (‘Leave it to the youth’). Their story ended later that year with A. Zielinski’s decision not to return home from another USA tour.
Six years later Jacek Zielinski resurrected Skaldowie with help from Ratynski, Tarsinski, Gregorsz

genre: heavy
country: germany
quality : lossless (flac, cue, log, covers)
time: 44:47 size: 297 mb

Cosmic Dreams:
A quartet, probably originating from the Hamburg-area. In 1971 their album Trip Away, containing 10 tracks in all, was recorded at the legendary Windrose Studio in Hamburg. Most of them had a laid-back, American West Coast feel, in some ways comparable to the music of Quicksilver Messenger Service. Their sound was dominated by electric and acoustic guitars with occasional keyboards. I haven't got the names of the group members, as they weren't mentioned on the record sleeve! An original copy should be yours for about 75 DEM. The group also released three singles: "Hopeless Love" coupled with "Indian Fate" (1971) was taken from their album, "Sleepy Tom-Tom" coupled with "Raindrops" (1972) and "Motorcycle Mama" coupled with "Your Lovin' Man" (1972) were two rarities released on Phillips.
 

style: kraut
country: germany
audio: lossless (ape, cue, log, scans)
time: 46'48" size: 253 mb
issue: GoDs

01 - Free clinic 27:51
02 - Green Girl 9:18
03 - Steel's Electric 9:38

Friedemann Josch / flute, sax
Jürgen Benz / sax, flute
Lutz Oldemeier / drums
Norbert Dömling / bass
Eddy Marron / guitar
 

genre: pop
country: us
quality : lossless (flac, cue, log, scans, size: 347 mb) & mp3 (320k, scans, 192 mb)

genre: prog
country: italy
quality : lossless (flac, cue, covers)
time: 38`06" size: 224 mb
 

genre: blues fusion
country: poland
quality : lossless (ape, cue, log, scans)
time: 1:16`11" size: 492 mb

01 - Freedom With Us 8:12
02 - 3rd Reanimation 6:13
03 - Going Away 6:36
04 - (Zywiec) Mountain Melody 3:08
05 - Wake Up 5:02
06 - In The Cradle Of Your Hands 2:46
07 - Growin' 6:18
08 - Follow My Dream 8:10
09 - Krolewskie marzenie (bonus track) 6:41
10 - Wiosenne chimery (bonus track) 15:54
11 - Dla przyjaciol (bonus track) 7:09
 

genre: rock
country: poland
quality : lossless (flac, tracks+cue+log+scans)
time: 1:16`10" size: 504 mb
issue: 2004 remaster

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].
 

genre: neo prog
country: us
quality : mp3 (192k)
time: 43`18"
size: 63 mb

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

style: hard
country: australia
audio: mp3 (320k)
size: 112mb

01 - Leader 6:07
02 - Suzie Sunshine 3:00
03 - Pay My Dues 5:36
04 - I'm A Mover 10:58
05 - Ballad Of Irving Fink 4:37
06 - Bean Stew 7:11
07 - Forest Rain 6:29
08 - Dead Forever 5:32

style: prog
country: spain
audio: lossless (ape)
size: 243mb
issue: BMG-Zafiro 74321 933192 (2002)

oe: this is gem

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.