IQ (ABO #224)

IQ
SOMEWHERE ELSE

One of the Pioneers on the British Neo Prog scene, IQ is one of the few bands from the 80's and 90's scene that superbly delivers a full symphonic, richly emotional music. The outstanding vocals of Peter NICHOLLS give the band its trademark, but the keyboard arrangements from the multiband man Martin ORFORD (JADIS, BIG BIG TRAIN) really add to the atmosphere here. The guitar work from Mike HOLMES completes the last essential ingredient of the band's musicianship.
The band is strongly influenced by (GABRIEL era) GENESIS, with a hard-edged and powerful sound. IQ is one of the few bands that has been able to maintain a growing curve in terms of musicianship and identity over the years. With time, their music became heavier which was quite a nice turn of events.
After carrying the torch of progressive music into the 80s, their first two proper albums, "Tales From The Lush Attic" and "The Wake" are among the very finest progressive rock albums released in that decade, they tried a more commercial turn with a new vocalist, P. L. MENEL. The adventure only lasted two albums and didn't meet the expected success which, ultimately, lead to NICHOLLS return. From there, they resumed their string of retro-progressive albums releasing classics such as "Ever" and the double-album, "Subterranea".
It's been quite hard selecting the material for this compilation. I could have made a triple cd but decided not to. That's how consistent IQ's work is. Enjoy this music that, hopefully, will take you...Somewhere else.

My IQ Top Three
1 - The Wake (1985)
2 - Ever (1993)
3 - Subterranea (1997)

My IQ Bottom Three
1 - Are You Sitting Comfortably? (1989)
2 - Nomzamo (1987)
3 - The Seventh House (2001)

ATOLL (ABO#223)

ATOLL

ASSEZ D'ESSAIS

(1973-2005)

Under that poor joke ('assez d'essais' means 'enough [nuclear] tries' and is pronounced like AC/DC, sorry) hides a real baistophe and a real band. Atoll were founded in 1972 by Chris Beya and made only 4 albums until 1979. they carried their own symphonic sound blending the finer aspects of fellow acts ANGE, PULSAR and MONA LISA. Their style is very theatrical in nature offering dynamic and melodic arrangements with some great song writing. Along the topics it is impossible to avoid the comparisons with GENESIS, YES and MAHAVISHU ORCHESTRA. The changes of members were another of the characteristics of this group who counted John WETTON among their members.

ATOLL, in their short history, released two excellent and very different albums. "L'Araignee Mal" (1975) is an essential for any prog collection. They add a violinist to the band and a touch of fusion to their sound, this is a very exciting album. "Tertio" (3rd album) features their exploration into the symphonic world of France's 70's progressive rock genre. (source=progarchives)

My Atoll TOP :

1. Tertio (1977)

2. L'Araignée-Mal (1975)

3. Musiciens Magiciens (1973)

4. Rock Puzzle (1979)

5. L'Océan (1990)

6. Illian (2005)

HAPPY THE MAN (ABO #222)

HAPPY THE MAN
ONE IN A MILLION

One of the finest American prog bands. Completely out of the american standards, HAPPY THE MAN combined lush melodies, great complex interplay and a slightly jazzy touch with occasional vocals. The band claims to be influenced by GENESIS, YES, and GENTLE GIANT although they really do not sound anything like any of those bands.
Their first two albums, the self titled "Happy the Man" and "Crafty Hands" (almost entirely instrumental) are classic albums of the highest order, and are considered by the band to be the definitive releases in their catalogue. These are must haves. A reference point in the 70's US prog scene.
This baistophe covers their entire discography, that includes 2004's "The Muse Awakens" which leans towards neo-prog while still retaining a heavy relation with their 70s work. It has to be noted that this album was recorded without short-time Camel member Kit Watkins who later embarked in a solo career and was replaced by former-Rainbow keyboard player David Rosenthal.

HAPPY THE MAN list
1 - Happy the Man (1977)
2 - Crafty Hands (1978)
3 - 3rd: Better Late (1979/84)
4 - The Muse Awakens (2004)
5 - Death's Crown (1974-76/99)
6 - Beginnings (1974-75/90)

RENAISSANCE (ABO#221)

RENAISSANCE

LOVE GOES ON

(1969-2005)

Sometimes life is unfair. At the end of the Yardbirds (ABO#074) life, Jimmy page had in the idea to pursue the adventure. Then the Yardbirds became the New Yardbirds and finally Led Zeppelin. No doubt that most people who are not aware enough of music only think that the Zep are the only logical filiation with the Yardbirds... That's a big mistake while two other bands were made from the Yardbirds' ashes : Together and Renaissance. The first one didn't last long, the second went on under Led Zep's shadow whereas they had a long carreer.

The line-up rapidly changed, in 1972, so that there was no former Yardbirds member anymore : Keith Relf and Jim McCarty had left. By this personel change, the music slightly changed from folk-rock to progressive-folk. The arrival of Annie Haslam made Renaissance sound so much nicer. Her wonderful voice became their marque de fabrique. After an unproctuctive period in the late 80s / early 90s. Renaissance were back, droping the progressive part of their identity.

Renaissance now seems to be completely unproductive, but Annie continues to sing, sometimes as Renaissance on her own.

My Renaissance TOP3:

1. Sheherazade (1974)

2. Ashes Are Burning (1972)

3. Turn Of The Cards (1973)

My Renaissance BOTTOM3:

1. Time-Line (1983)

2. The Other Woman (1995)

3. Camera Camera (1981)

ALAMAAILMAN VASARAT (ABO #220)

ALAMAAILMAN VASARAT
SYVÄSATAMAAN IKSUVASARAT

Fourth opus of Baistophe's Progressive Music Month, it may be argued that Alamaailman Vasarat are not really progressive which could lead to a long and sterile discussion as to what progressive music is. I think they are but you have every right to disagree with me...
Anyway, The avant-garde Finnish band Alamaailman Vasarat, which translates to "the Hammers of the Underworld" in English, create music influenced by Klezmer and other forms of European folk music and play it with the ferocity of a punk or metal act and the theatrical dimension of progressive rock. Abandoning major keys for the most part and guitars all together, the group performs on such instruments as a pump organ, saxophone, and distorted cello. Although the basic rhythms the band uses are conventional polka and bossa nova, by speeding them up and adding primal drumming, their intense music has been known to even inspire stage diving.
The attempt, for this compilation, was to try building something that would ressemble an actual album hence the unchronological tracklist, the short edits at the end of some tracks and the sound adjustments that had to be made so to create an harmonious whole. The title would translate something like "Deep Sea Hammers" (sorry if I mistreated the Finnish language, I had to use google translator) and the selection aims to be an imaginary soundtrack, it's up to you to create your "mental movie" but, just for information, mine consists in a journey in marine life with hammerhead sharks as the main character. I sincerely hope you'll like the work and the band and that it'll make you want to check more of their unique sound on either of their four albums (and to avoid at all coast their collaboration with Finnish folk singer Tuomari Nurmio which is just not good).
Enjoy and don't be shy, give me your opinion.

My ALAMAAILMAN VASARAT List
1 - Käärmelautakunta (2003)
2 - Vasaraasia (2000)
3 - Mahaan (2007)
4 - Huuko Kolkko (2009)
5 - Kinaporin Kalifaatti [with Tuomari Nurmio] (2005)

SPOCK'S BEARD (ABO#219)

SPOCK'S BEARD

THOUGHTS

(1991-2006)

1974 was a tragical year for progressive music. Critics and audience decreased rapidly. Progressive bands had become so pompous and sometimes boring that no one wanted to listen to most of them anymore. Progressive music never really catch back its past fame after that. However, bands like UK in the late 70s or Marillion in the mid-80s managed to sell enough to gain an honorable popularity. In the 90s, the next band to become famous, in a minor way, was to be Spock's Beard. First thing one would notice: it's an american band. Whereas progressive music has mostly been an european movement, some american bands such as Kansas caught the progressive train to join the family. Evidently, the music sounded much different.
I'm more a fan of the English sound especially for prog. The American sound is usually too dirty or too clean, almost never a compromise of both. And, actually, this is my only complain about Spock's Beard: too clean. The singing is a bit too poppy, youth-oriented. This damages the pleasure a bit but since the music is great, that's a minor problem.

My Spock's Beard TOP3 :

1. V (2000)

2. Day For Night (1999)

3. Beware Of Darkness (1996)

My Spock's Beard BOTTOM3 :

1. Octane (2005)

2. Snow (2002)

3. Feel Euphoria (2003)

GRYPHON (ABO #218)

GRYPHON

HISTORY

Second episode of Baistophe's Progressive Rock series. I chose to display one of england's most peculiar acts: GRYPHON.

GRYPHON was founded in 1973 by Richard HARVEY (recorder, keys) and Brian GULLAND (bassoon, krumhorn) after a stint at the Royal Acadamy of Music. They shared a vision of blending traditional English folk, Baroque instrumentation and Renaissance music in a modern format. The compositions resemble those of Gentle Giant but give greater emphasis to the authentic textures and sounds of the Renaissance period.

Harvey and Gulland were joined in 1973 by Graeme TAYLOR on guitar and singer/percussionist David OBERLE for their all-acoustic first album 'Gryphon'. Bassist Philip NESTOR was added to the line up in 1974 for their second effort 'Midnight Mushrumps', which featured an increased number of original compositions and leanings in a rock direction. Later that year their classic 'Red Queen to Gryphon Three' was released and has become a prog rock staple with its longer, somewhat more symphonic arrangements and courtly instrumental rock. The mid-1970s brought big changes to the band with new bass player Malcom BENNET taking over for Nestor. In 1977, guitarist Graeme Taylor left to be replaced by Bob FOSTER, bassist Jonathan DAVIE replaced Bennett, and Oberle switched to lead voice with Alex BAIRED taking over on drums. Tim SEBASTIAN was also brought in as a lyricist to complete the ever-growing unit. 'Raindance' was released in 1975 and 'Treason' in '77, establishing GRYPHON as a top-notch prog rock act.

With a seamless fusion of British folk and medieval rock, GRYPHON developed a strong sound all their own and a loyal following. (Progarchives)

My GRYPHON List
1 - Red Queen to Gryphon Three (1975)
2 - Midnight Mushrumps (1974)
3 - Gryphon (1973)
4 - Treason (1977)
5 - Raindance (1975)

CAMEL (ABO#217)

CAMEL

RIPPLES

(1972-2002)

This is one thing we wanted to do since last february. At that time, there was an annoying idiot who couldn't help criticizing us and insult us while still downloading our baistophes. One thing he couldn't stop saying is that there was too much progressive bands on our blog. Even if it was true it would have been our choice. Actually, we didn't think there was too much progressive music on Baistophe and that's why we decided to make june our prog month.
The first band of this series is Camel who is considered like a canterbury-scene band. I think it's a misunderstanding. If you listen to Camel's music, you'll hear songs that vaguely sound like Caravan's music, for understandable reasons : first because the rhythm played by the drums is noticeably the same as that of Caravan, second because Richard Sinclair, formerly singer and bass player of Caravan, also played with Camel. In my own opinion, which might be not shared with others, Camel's sound is much closer to 1976/77's Genesis' sound. Unfornately, their never quite gained the success they deserved even with great songs and good albums (success did not come enough in spite of good songs and albums like Moonmadness (1976's Moonmadness or 1974's Mirage). It is my guess that Camel might have come a little to late to fully profit of the progressive rock fame of the early 70s: their debut album was released in 1973, right at the end of the golden era of prog'. Is it a shame? It's up to you to decide. One thing's for sure, if you only know Camel's early works and do like it, I have to advise you to pay attention to their latest releases like Rajaz and A Nod And A Wink. The latter didn't come out long before Pete Bardens passed away, a sad event which ultimately lead the band to face the end of their career.
Some people may notice that this baistophe does not feature any of Pete Bardens' solo recording, I don't know if Pete's works really deserve a baistophe, even so, there's still Camel's version of his Gods Of Light here.
Enjoy.

My Camel TOP3 :

1- Moonmadness (1976)

2- Mirage (1974)

3- Rajaz (1999)

My Camel BOTTOM3 :

1- The Single Factor (1982)

2- Stationary Traveller (1984)

3- Breathless (1978)

TOM MCRAE (ABO #216)

TOM MCRAE
STILL LOST

Singer/songwriter Tom McRae credits his upbringing for leading him to a career in music. While growing up in Chelmsford, his parents were vicars in the Church of England and McRae sang in the choir. His mother played guitar and, as a teen, he'd borrow it. When his sisters were listening to Kate Bush and U2, McRae followed and began buying records. He also started to become serious about music. At age 18, he went off to Guild Hall University to study music politics, soon forming bands and writing songs. A chance meeting with sound engineer Roger Bechirian (Elvis Costello, Squeeze, Carlene Carter) led him to a working relationship. He and Bechirian shaped McRae's soft-spoken sound, which later yanked him a deal with Mercury's db Records. Tom McRae's confessional self-titled debut appeared in fall 2001 and earned him comparisons to Nick Drake and Bob Dylan. Critics raved and McRae also a gained Mercury Music Prize nomination the same year. In 2003 Just Like Blood hit shelves and the next year McRae moved to California, where he recorded his third full-length, All Maps Welcome, an album that was released in 2005. Two years later King of Cards, recorded in England, came out. Get a taste of Tom's melancholic nostalgia with Baistophe's newest delivery.

My TOM MCRAE list
1 - Tom McRae (2000)
2 - All Maps Welcome (2005)
3 - Just Like Blood (2003)
4 - King of Cards (2007)

NICKEL CREEK (ABO #215)

NICKEL CREEK
AS LONG AS THE GRASS IS BLUE

Distinguished by their youth and eclectic taste, Nickel Creek became a word-of-mouth sensation on the progressive bluegrass scene and soon found their appeal spreading beyond the genre's core audience. Guitarist Sean Watkins, fiddler Sara Watkins (his younger sister), and mandolin/banjo/bouzouki player Chris Thile first started performing together in 1989, when all three were preteens and taking music lessons in their native San Diego. They met while watching the local band Bluegrass Etc., which put on weekly performances in a pizza parlor. A bluegrass promoter liked the idea of such a young band, and thus Nickel Creek was formed, with Thile's father Scott joining them on bass.
In 1998, with help from Alison Krauss, Nickel Creek landed a record deal with the roots music label Sugar Hill. Krauss produced their self-titled debut album, which was released in 2000; with the kids apparently all right, Scott subsequently retired from the band.
In 2002, the band released This Side. The album was a major transition from their previous release. Although the core influence of bluegrass remained throughout the album, many other genres were present, such as indie rock and folk rock (the band covered Spit on a Stranger by Pavement, and Should've Known Better by Carrie Newcomer).
Three years after the release of This Side, Nickel Creek released their fifth album Why Should the Fire Die?. The album brought even more rock and pop influences to Nickel Creek, than This Side did.
In mid-2006, Nickel Creek announced it would be taking an indefinite hiatus following a scheduled tour the next year, so its members could concentrate on solo work.