SYMPHONIC ROCK

This CD basically packs both "One Niter" and "Hats of Glass" on to one disc, but due to space constraint, one song from both albums are unfortunately ommitted, that is "Venezuela" from "One Niter" and "Caught on the Air" from "Hats of Glass". If you want everything, you'll have to buy the original LPs, or the Korean CD reissue of "One Niter" on Si-Wan ("Hats of Glass" by itself never made it as a CD reissue, so you can only get the complete album on LP).

The often overlooked Austrian progrock band EELA CRAIG epitomizes the whole Austrian progressive movement. The music on the great compilation-CD "Symphonic rock" (including the songs from the albums "One Niter" and "Hats of Glass") is hard to compare, maybe some hints from RICK WAKEMAN solo, ELOY, PINK FLOYD and CAMEL can be traced. The melodic and harmonic music from EELA CRAIG is build upon beautiful interplay between four members with their keyboards (ranging from soaring strings and bombastic choir- Mellotron to the typical sound of the Fender Rhodes electric piano, sensational Moog flights, swinging clavinet and powerful Hammond organ runs) and sensitive and howling electric guitar play. The moving compositions sound warm and are coloured with lots of instruments, from the aforementioned keyboards to flute, acoustic guitar and assorted percussion. Wonderful symphonic rock that deserves more attention, especially 'Tron- maniacs' will be delighted about the omnipresence of this unique keyboard.

One of only a handful of Austrian progressive bands, EELA CRAIG, at least on this CD release of their 2nd and 3rd albums (less one track each) straddles the lines between symphonic, fusion and Canterbury, which promises a hearty musical mulligan. Unfortunately, I can't seem to find the right volume at which to appreciate EELA CRAIG. If it's down low I turn it up thinking that I am missing something, but soon enough I consider whether lower was better after all.

This just isn't very captivating very often, Caravan-era CAMEL did a better, albeit not stellar, job of blending these styles, and also struck a better balance between vocal and instrumental. Of course there are Teutonic references at work as well, thinking of JANE and GROBSCHNITT in their mellow moments. At times the music does awaken from its stupor, usually in the form of an overly shrill and extended lead guitar solo which hovers about the same few notes. This dichotomy diminishes even the best of the lengthier pieces, like the NEKTAR influenced "Loner's Rhyme", in which the sparkling flute and vocal melodies, and an even better guitar solo, are derailed by incompatibly harsh themes. In "Way Down" is even less "together", and it is supposed to be the epic. Both "Hats of Glass" and "Holstenwall Fair", originally from the later album, are even weaker. The less said about the disco-ey guitars of "The Nude" and "V.A.T", the better.

Still, if you like mellotron and aren't picky about contextual issues, you may enjoy this, especially the ambient opener "The Mighty", but its main tune is too close to the old Soviet anthem for me. "Morning" and "Benedictus" are intriguing short mellow-tronic instrumentals, the latter sporting a rather sophisticated classical influence that should have been better developed. One of the strongest vocal cuts is "Grover's Mill", a traditional prog ballad, again swamped in mellotron. "Heaven Sales" is a more energetic song with an almost poppy Canterbury feel - OK it reminds me of someone else whom I can't recall. It works because of the skilled instrumentation and contrast to the rest of the CD.

While on paper this might get rounded up to 3 stars, I can't be quite so generous because there really isn't a lot to draw me back to E.C. Competent and worth a listen especially for fans of the genres, it really has all the staying power of a one nighter for me.

The last review of this underrated Austrian septet is from 2019 so time to focus on the unique sound of Eela Craig. This review is about their compilation CD entitled .... Symphonic Rock featuring all tracks from their albums One Niter (1976) and Hats Of Glass (1978). The melodic and harmonic music from Eela Craig is build upon beautiful interplay between four members with their keyboards and sensitive and howling electric guitar play. The moving compositions sound warm and are coloured with lots of instruments, from the aforementioned keyboards to flute, acoustic guitar and assorted percussion. Wonderful symphonic rock that deserves more attention, especially 'Tron- maniacs' will be delighted about the omnipresence of this unique keyboard.

My highlights of One Niter.

The alternating composition Circles (15 minutes, 3 parts). After a majestic Mellotron intro a dreamy climate follows with soaring keyboards and pleasant work on the flute. Then a compelling rhythm with Mellotron brass, culminating in a swinging part with beautiful interplay between clavinet, string-ensemble and electric guitar. Next an interlude with wonderful vocals and tender Fender electric piano, a fiery and moving guitar solo, blended with organ and drums. Finally an accellaration featuring fiery electric guitar, Mellotron brass and fluent drums, what a great start!

Loner's Rhyme alternates between dreamy and a compelling rhythm, again with Mellotron brass. Along howling guitar runs, a splendid duel between the synthesizer and clavinet. Then an exciting part with swinging clavinet (an Eela Craig trademark, along the Mellotron brass sound), sparkling Hammond organ and propulsive conga percussion. This culminates in a final part featuring moving guitar, supported by the warm string-ensemble sound.

The long and instrumental One Niter Medley is a 'wet dream for vintage keyboards aficionados' (Mellotron, harpsichord, string-ensemble, Minimoog and Grand piano), remarkable is the huge variety, from classical violins in a swinging rhythm to a combination of symphonic rock and funk, unique!

The strong Way Down that sounds like a captivating blend of symphonic rock, funk and rock, embellished with a lush vintage keyboard sound and powerful electric guitar. Halfway a wonderful part with the string-ensemble, in combination with warm vocals and piano. In the end an exciting grand finale featuring Mellotron brass, piano and compelling work on the drums, goose bumps!

The acquisition of the new singer is an indication for the change in the sound on Hats Of Glass: more song-oriented, more romantic and less bombastic and less keyboard driven. My highlights.

The titletrack contains wonderful work on flute and keyboards and halfway a long and moving electric guitar solo. Grover's Mill delivers soaring keyboards, tender electric piano, varied keyboards and again moving electric guitar, often Barclay James Harvest comes to my mind, but without the lush Mellotron sound.

My absolute favorite is the longer and most adventurous composition Holstenwall Fair. First a slow rhythm with pleasant vocals and nice Hammond and Mellotron choir drops, next a shifting mood with sultry synthesizer sound and propulsive drums beats, a wonderful hypnotizing atmosphere. Then an accellaration with a catchy beat, fiery electric work, varied keyboard work and a sensational duel between a powerful guitar and pitchbend driven Minimoog. Finally majestic Mellotron choir and a return to the first part. This is how Eela Craig often sounded on their praised second effort One Niter, wow!

If you like melodic, harmonic and accessible symphonic rock with hints from Barclay James Harvest, Camel, Alan Parsons Project and Manfred Mann's Earth Band I highly recommend this compilation CD, I love the lush vintage keyboards, wonderful vocals and moving electric guitar!