A Quest for Prog 21: Grobschnitt – Ballermann

"A Quest for Prog" is a series of 50 Progressive Rock reviews to be written over a year.  The band selection is taken from the book in the first post on this blog.  And the albums I am reviewing is based on the highest user ratings for each band on Progarchives.com.

Grobschnitt – Ballermann (1974)

Produced by Frank Mille

Stefan Danielak (Wildschwein) – Lead vocals & Guitar

Joachim Ehrig (Eroc) – Drums, Percussion, Vocals & Electronic f/x

Volker Kahrs (Mist) – Keyboards  

Gerd-Otto Kühn (Lupo) – Lead Guitar

Bernhard Uhlemann (Bär) – Bass

Track listing:

Side One:

01.  Sahara (5:33)  

02.  Nickel-Odeon (9:14)  

03.  Drummer's Dream (6:11)  

Side Two:

01.  Morning Song (5:42)

02.  Magic Train (13:20)  

Side Three:

01.  Solar-Music, Part 1 (17:28)  

Side Four:

01.  Solar-Music, Part 2 (15:58)

Released in 1974 “Ballermann” is the second album by German band Grobschnitt.  The band formed from the ashes of psychedelic rock band The Crew.  Originally formed as an eight piece the band slimming down to a five piece after the band’s debut album.  The band like many German bands of the time they sang in English.  The band are known for mixing comedy and music in concert and on record.

The album begins with the bizarre “Sahara”.  The song begins with what I can only describe as a silly comedy sketch in the vein of the Goons that moves into Egyptian vocal riffing.  When the band comes in musically and vocally the song reminded me of 70’s rock version of Rammstein.  I’m not a big fan of the vocals on this one and musically it is a little boring but the guitars were really good. 

The jazzy “Nickel-Odeon” follows and is reminiscent of The Doors jazzier tunes.  The song has really nice movement and features some really strong keyboards but does drag a bit.  The Vocals on this song reminded me of David Gilmour and are heavily affected.  The gets stronger as it goes and near the end reminded me Yes with nice summery guitars.

“Drummer's Dream” begins with really pretty piano.  This tune reminds me of the kind of music that progressive bands were making in the 90's.  It sounds bright and the band is playing really great on this tune but I’m not a big fan of this kind of sound.

“Morning Song” has an acoustic feel and is kind of folky.  The playing is very precise and is quite pleasant with some dirty keyboards that sound like Van Der Graaf Generator.  The song ends with some silly grunting which is a bit weird.

The intro to “Magic Train” features some really strong piano by Volker Kahrs.  Strangely this piano intro just suddenly stops and a bass drum starts pulsing.  The main part of the song is a mix of Jethro Tull and Hotel California.  The energy in the song is really good and the band is playing really well but the song does drag on a bit.  

Record two is dedicated to the Solar Music pieces.  Side one includes “Solar-Music, Part 1” a cinematic tune that features some guitar like “Eye Of The Tiger”.  The tune is loose with some quiet and airy passages.  The song is ambient but builds with great tension.  Think a dreamier “Set Controls For The Heart Of The Sun” with a massive groove.  This song is a journey that builds and builds.  This songs is really fantastic at doesn’t lets up.  This is a really strong tune.

Flipping the record over we go “Solar-Music, Part 2” which picks the pace up from the first part.  This part is really groovy.  A mix of psychedelic jazz and electronic.  The track uses allot vintage synths and to create a cool Sci-Fi feel.  The playing is really great and band seems free to do what they please.  Another really strong tune.

This album feel like two records two albums.  The first is a bit silly and in places frivolous but with some really strong moments.  But the second album is the absolute star of this album.  If this album has just been the second record it would have been a 10/10 but the first album brings it down a little.  Amazing stuff.

9/10

A Quest for Prog 20: Gong - Radio Gnome Invisible Vol. 3 - You

"A Quest for Prog" is a series of 50 Progressive Rock reviews to be written over a year.  The band selection is taken from the book in the first post on this blog.  And the albums I am reviewing is based on the highest user ratings for each band on Progarchives.com.

Gong - Radio Gnome Invisible Vol. 3 - You (1974)

Produced by Simon Heyworth

Mike Howlett – Bass guitar

Pierre Moerlen – Drums & Percussion

Mireille Bauer – Percussion

Benoit Moerlen – Percussion

Steve Hillage – Lead Guitar

Didier Malherbe – Wind Instruments & Vocals

Tim Blake – Moog, EMS Synthesisers & Mellowdrone

Daevid Allen – Vocal Locust & Glissandoz Guitar

Gilli Smyth – Poems & Space Whisper

Miquette Giraudy – Wee Voices & Chourousings

Track listing:

Side one:

01. Thoughts for Naught (1:32)

02. A P.H.P.'s Advice (1:47)

03. Magick Mother Invocation (2:06)

04. Master Builder (6:07)

05. A Sprinkling of Clouds (8:55)

Side two:

01. Perfect Mystery (2:29)

02. The Isle of Everywhere (10:20)

03. You Never Blow Yr Trip Forever (11:22)

Released in 1974 “Radio Gnome Invisible Vol. 3 - You” is the seventh album by English band Gong.  The band formed in 1967 after Daevid Allen at the time a member for the Soft Machine was denied access back into the UK.  In France the first line up of the Gong was formed and since then the band have released 14 album in the last 30 years.

The album begins with the theatrical “Thoughts for Naught”.  This is quite a strange tune with Waltzy keyboards and some really strange vocals.  The vocals sound French and move around the stereo space from which is always fun with headphones.  Fun tune.

“A P.H.P.'s Advice” follows and is another short and strange number.  It sounds very English and zany kind of like early Pink Floyd mixed with Madness.  Very minimal and childlike.

The space rock “Magick Mother Invocation” follows.  There are layers of vocals in this one which are kind of like monks but these are Space monks.  It’s a very spacey tune.

“Master Builder” follows a song that sounds like a Space Rock version of The Stooges Funhouse record.  There’s Tribal drumming and percussion mixed with chanting and eastern flavoured keyboards.  There is some cool sax on this track.  The second half is really chopped up and disjointed.  This is a seriously good tune.

The side closer is “A Sprinkling of Clouds” which continues the Space Rock feel of the previous track.  The song has a Kraftwerk feel to it but bigger and less mechanical.  The song builds and builds and get’s more chaotic as it goes along.  There is also some great flute on the track.  Another great song.

The flipside begins with the odd rock n roll song “Perfect Mystery”.  It’s like of like a mashed up Kinks with some very strange lyrics and vocals. 

The first of the 10 minutes plus tracks “The Isle of Everywhere” is a kind of soul tune with funk bass and guitar through a wah wah pedal.  But over the top is some strange ethereal female vocals.  The best way to describe the mix would be Space Soul.  A strange but very interesting song that probably could have been shorter but doesn’t drag.

We finish on “You Never Blow Yr Trip Forever”.  Another kind of strange funk work out which vocals that are pretty much gibberish.  That said the melodies are really cool and have a Syd Barrett feel to them.  Musically the track points to Cans “Futures Days” album.  This track really does go on far too long and does get fairly boring later in the track.  My least favourite track.

This album was pretty exciting a listen the first time through.  It really goes to places other bands I have listen to have gone.  One subsequent listen some songs don’t stand up but overall this is a really interesting listen an Gong are a band I would definitely be interested in listen to more of.

7/10

A Quest for Prog 19: Gentle Giant - In a Glass House

"A Quest for Prog" is a series of 50 Progressive Rock reviews to be written over a year.  The band selection is taken from the book in the first post on this blog.  And the albums I am reviewing is based on the highest user ratings for each band on Progarchives.com.

Gentle Giant - In a Glass House (1973)

Produced by Gentle Giant & Gary Martin

Derek Shulman – Lead vocals, Alto/Soprano Sax & Recorder

Gary Green – 6 & 12 String Guitars, Mandolin, Percussion & Alto Recorder

Kerry Minnear – Keyboards, Tuned Percussion, Recorder & Vocals

Ray Shulman – Bass & Acoustic Guitars, Violin, Trumpet, Percussion & Backing Vocals

John Weathers – Drums & Percussion

Track listing:

Side one:

01. The Runaway (7:16)

02. An Inmate's Lullaby (4:40)

03. Way of Life (8:04)

Side two:

01. Experience (7:50)

02. A Reunion (2:12)

03. In a Glass House (8:09)

Released in 1973 “In a Glass House” is the fifth album by English band Gentle Giant.  The band was formed in 1970 when the Shulman brothers teamed up with Gary Green, Kerry Minnear & drummer Martin Smith.  All members apart from Martin could play multiple instruments which along with a varied influences and backgrounds created a unique mix of Classical, Jazz & Rock.  Although the band only achieved Cult success they released an impressive eleven studio albums between 1970 and 1980 before splitting.

Breaking glass opens the album and is drawn into a kind of loop which build before the band comes into the track “The Runaway”.  The song is quite playful but at the same time intricate and energetic.  The song treads the same territory as Yes and features some really cool keyboards from Kerry Minnear.  There are Zappa moments with a great Xylophone solo.  This song is really interesting but is let down by weak vocals.  The melodies in the song are really good but Derek Shulman’s vocals seem to lack any conviction. 

“An Inmate's Lullaby” is next and this is a really innocent almost childlike track.  The song starts with a keyboard loop that sounds like an unusual Music Box.  It reminded me allot of Hitchcock by The Phoenix Foundation.  The song moves from being slightly sinister to very childish. 

The side ends with “Way of Life”.  This track is very funky with Ray Shulman playing some really great bass here.  The song has quite discordant passages that give it a strong Zappa feel.  The keyboards are the real star of the show here and helps it stay interesting over it’s 8 minutes.

“Experience” kicks of side two with an almost Celtic Prog feel.  The playing is intricate and folky with an almost silly sense of grandeur.  At 3 minutes in the band explodes in into the song and unfortunately it becomes far less interesting.  The remaining 4 minutes are pretty pedestrian 70’s rock but Derek Shulman delivers his best vocals on the album.  Disappointing after such a good start.

The stripped back “A Reunion” follows and is a change for the album.  Basically just a short folky song with some nice guitar and violin work.  Nice tune.

The final track “In A Glass House” which starts off as a fiddle lead acoustic track.  The fiddle playing is really good and are a highlight of the album.  As with “Experience” the track starts of great but looses track in the second half with some boring rock parts.  It ends by quickly recapping the album before reprising the breaking glass that were used in the intro to the album.

Quite enjoyable album but an album that seems to loose it way on the longer tracks.  The first two tracks on the album are great and worth checking out.  The live album “Playing the Fool” from 1977 for me was a much more enjoyable album.

6/10

A Quest for Prog 18: Genesis - Selling England by the Pound

"A Quest for Prog" is a series of 50 Progressive Rock reviews to be written over a year.  The band selection is taken from the book in the first post on this blog.  And the albums I am reviewing is based on the highest user ratings for each band on Progarchives.com.

Genesis - Selling England by the Pound (1973)

Produced by Genesis & John Burns

Peter Gabriel – Lead Vocals, Flute, Oboe & Percussion

Phil Collins – Drums, Percussion, Backing Vocals & Lead Vocals ("More Fool Me")

Tony Banks – Backing Vocals, Piano, Keyboards & Acoustic Guitar ("The Cinema Show")

Steve Hackett – Guitar & Backing Vocals ("I Know What I Like")

Mike Rutherford – Bass Guitar, Bass Pedals, Rhythm Guitar, Cello ("Dancing With The Moonlight Knight") & Electric Sitar

Track listing:

Side one:

01. Dancing with the Moonlit Knight (8:04)

02. I Know What I Like (In Your Wardrobe) (4:07)

03. Firth of Fifth (9:35)

04. More Fool Me (3:10)

Side two:

01. The Battle of Epping Forest (11:49)

02. After the Ordeal (4:13)

03. The Cinema Show (11:06)

04. Aisle of Plenty (1:32)

Released in 1973 “Selling England by the Pound” is the fifth album by English band Genesis.  They were one of the originators of English progressive music.  The band released 6 albums with Peter Gabriel before he left to pursue a successful solo career at which time drummer Phil Collins become the singer for the band.  The Phil Collins period of the band was hugely successful and saw the band move away from their Prog roots to a commercial radio sound.

The album begins with the epic “Dancing with the Moonlit Knight”.  The song begins with a Medieval sound with Guitars and keyboards before rest of the band comes in.  The playing is intricate and with the guitars and the keyboards both having impressive solo sections.  The song is based around a strong Guitar Riff from Steve Hackett.  Peter Gabriel vocals are really strong and he delivers some great lyrics with variations of the “Selling England By The Pound” theme.  Great tune.

“I Know What I Like (In Your Wardrobe)” follows and is quite a coy and English sounding track.  The backing is lush and quite commercial.  Lyrically this song is quite silly in places but I think that is meant to be the point.  Quite a fun song but at the same a bit frivolous.

“Firth of Fifth” is next.  A mid paced track with some subtle playing.  The band is really strong on this track and they sway and move through this track which in some respects reminded me of Pink Floyd.  The keyboard signature in the tune is strong with a nice section that is just keyboards and drums.  A real showcase for Phil Collins who surprisingly doesn’t shine allot on this album.  This is a really interesting track that goes to some pretty places over its course.

The last song on side one is “More Fool Me”.  This track is quite different to the other songs on the album in that it is quite stripped back with just Guitar and Vocals.  The song reminds me of Cat Stevens with Phil Collins being a dead ringer for him.  It’s a really nice and well written song that finished the side off on a good note.

Side two begins with “The Battle of Epping Forest”.  The song begins with marching drum and a penny whistle.  The song has interesting time signatures and with some nice guitar and funky bass.  The song has great movement with some cool Honky Tonk keyboards.  Peter Gabriel plays a number of characters in this song which he does very well.  Lyrically the song is quite clever with a number of plays on words.  This is a really fun tune that reminds me of early Split Enz.

The Instrumental “After the Ordeal” which has a classical feel to it.  The song is layered and gives the band some room to show off but does miss Peter’s vocals.

The longest track on the album “The Cinema Show” is next.  This track for the most part is a space Rock number that is quite weird in places.  The keyboards a really prominent on this track so much so at time the track reminded me of Emerson, Lake and Palmer.  Phil Collins drumming is quite high in the mix which is a welcome change from most of the album where is buried in the mix.  The guitar in the quiet section of the song reminded me of the intro to Rock Bottom by Kiss.  Cool song.

The album ends with the coda “Aisle of Plenty” which reprises themes from earlier in album most notably from opener “Dancing with the Moonlit Knight”.

I really liked this album and have owned it but not really given it a good listen.  The band is at the top of their game with the Guitars of Steve Hackett and Keyboards of Tony Banks being the stars of the album.  A great place to start when dipping your toes in the Prog Pool.

8/10

A Quest for Prog 17: Peter Gabriel - Peter Gabriel (aka “Peter Gabriel 3” or “Melt”)

"A Quest for Prog" is a series of 50 Progressive Rock reviews to be written over a year.  The band selection is taken from the book in the first post on this blog.  And the albums I am reviewing is based on the highest user ratings for each band on Progarchives.com.

Peter Gabriel - Peter Gabriel (aka “Peter Gabriel 3” or “Melt”) (1980)

Produced by Steve Lillywhite & Peter Gabriel

Peter Gabriel – Vocals, Piano, Synthesizer, Bass synthesizer & Percussion

Kate Bush – Backing Vocals ("No Self Control", "Games Without Frontiers", "I Don't Remember" & "Not One Of Us")

Jerry Marotta – Drums & Percussion

Larry Fast – Synthesizer & Bass synthesizer

Robert Fripp – Guitar ("No self control", "I Don't Remember" & "Not One of Us")

John Giblin – Bass

Dave Gregory – Guitar

Tony Levin – Chapman Stick ("I Don't Remember")

Phil Collins – Drums & Percussion ("Intruder", "No Self Control", "Family Snapshot" & "Biko")

Dick Morrissey – Saxophone

Morris Pert – Percussion

David Rhodes – Guitar & Backing Vocals

Paul Weller – Guitar ("And Through the Wire")

Dave Ferguson – Screeches ("Biko")

Track listing:

Side one:

01. Intruder (4:54)

02. No Self Control (3:55)

03. Start (1:21)

04. I Don't Remember (4:41)

05. Family Snapshot (4:28)

06. And Through the Wire (5:00)

Side two:

01. Games Without Frontiers (4:06)

02. Not One of Us (5:22)

03. Lead a Normal Life (4:14)

04. Biko (7:32)

Released in 1980 “Peter Gabriel” is the third solo album by English artist Peter Gabriel.  Peter started his carrier in Progressive Rock originator Genesis and released six albums with the band before leaving to begin a solo career.  His first 4 solo albums were all self titled and explored more electronic and stripped back types of music.  The 80’s were a particularly successful period for Peter sparked by his single “Sledgehammer” being picked up by MTV.  His most recent releases have returned to a minimal approached similar to his first solo period.

The album begins the unnerving “Intruder”.  This track is creepy with an almost muted and unemotional pallet that moves along on an industrial groove.  The song features sampled screams and guitar scratching alongside a very minimal vocal from Peter.  The song opens up slightly when there are actions being played out in the lyrics which add to the unsettling nature of the song.  Think a darker version of “Lullaby” by the Cure.

The next tune “No Self Control” is a lighting mood in some respects but is still quite a dark tune.  The song sounds like Tubeway Army and the lighter side of Nine Inch Nails.  It is a very percussive song with Tribal Toms and Marimbas.  It’s an interesting tune best way to describe it is a discordant pop song.   

The short tune “Start” is next.  It’s a cheesy Keyboard and Sax number that really isn’t all that interesting and is more an intro for “I Don't Remember”.

“I Don't Remember” is a much more fun prospect.  This track is an upbeat new wave kind of track that sits on a nice funk bass line.  Musically this is a fairly straight forward track that get’s it’s colour from the vocal effects.  Ok track but not as strong as the first two tracks.

The next track “Family Snapshot” is an odd track.  It has quite a prominent pop production but feel like it has almost been slowed to give it a grinding deep feel.  The song has good movement and strong melodies with some interesting instrumentation on the backing track.  Peter’s vocals are quite low and feature allot of processing.  

The last song on this side is “And Through the Wire”.  This track reminded me of 70’s Bowie the of Glam Rock stuff he was doing.  There is a New Wave feel in the mix.  The song goes from a stripped back verses which features some interesting changes in time to a strong commercial chorus.  An alright track but it does drag due to its length.

 “Games Without Frontiers” starts the second side off.  The song is quite electronic and features some really strong keyboard playing.  Peters vocals a soulful and quite high in places.  Nice tune that is let down by a weak chorus.

“Not One of Us” is next and is an idea taken too far.  The melodies are strong and it features a big almost rock chorus.  But it does drag at its length.  This is mostly due to the muted backing which struggles to keep the song interesting.   

Next is the World/Electronic “Lead a Normal Life”.  This song has a nice mix of keyboards and African percussion most prominently Marimba.  The song has a real Kraftwerk feel to it and at time is very dark in the same vein as album opener “Intruder.

The last song is probably the most minimal but well known of all of the tracks on this album “Biko”.  The song is topped and tailed with African field recordings.  The backing is a simply gated drum and guitar with what sounds like bagpipes.  All of the variation in the tune is from Peters vocals which are really strong on this song.  It’s an interesting tune that doesn’t seem to drag even though it is 7 minutes long. 

This isn’t a Prog album but more of Krautrock kind of album.  In that the German bands in that scene were less about wild instrumentation but taking music to unusual places.  The album does miss in a few places but hit’s in allot of other places.  Well worth checking out with Peters other self titled albums.

6/10