We've come to 1976 and the band Uriah Heep is now 9 albums in. The band had reached a successful pinnacle for a while with a fairly steady line-up, but had floundered a bit over the previous couple of years. Yes they had lost a member here and gained another somewhere else, but there was a core that looked impenetrable. But it wasn't. The first major change in the band's line-up was taking place as David Byron, the band's amazing lead singer with an impressive range, was having alcohol problems and was fired from the band. This was a huge move and it came when the band was losing strength in their popularity from their move to a more radio-friendly sound. However, the label and the band didn't want to accept the fact that their music output was the problem.

In 1976, John Lawton became the new lead singer after the band turned away David Coverdale, Ian Hunter and Gary Holton. He was fairly unknown, but had worked with a few smaller bands. It was admitted that he didn't have the range of Byron, but he could hold his own with the style of music the band was playing. Also, the band had unknowlingly lost their most talented bass player John Wetton who said he wasn't feeling comfortable with the band, so they recruited Trevor Bolder who had played for David Bowie in the past. Bolder would end up staying with the band until his death, so at least their woes with ever changing bass players were ended, but their lead singer problems were only beginning. However, this line-up would at least put out 3 studio albums and 2 live albums before more changes would come.

Uriah Heep came into their 10th album with a new attitude and confidence, that was at least what would be said about it. 'Firefly' looked to giving the band back it's earlier, more stripped down sound, sort of a return to their roots. But, that had been said about their last few albums also. This one would originally consist of 8 tracks, but would be re-issued in an expanded remaster in 2004 which would include other songs that were recorded around the same time, but unused, adding 8 more tracks to the album.

On the original album, Ken Hensley would be soley responsible for writing all of the tracks except for co-writing credit with Jack Williams for 'The Hanging Tree' (the first track), and 'Who Needs Me' which was completely written by Lee Kerslake. Granted, this first track does recall earlier UH music, melodic with a good mix of heavy guitar and keys. It's a good start for the album. This is followed with the more soulful 'Been Away Too Long', which also dips into the earlier sound of the band. Lawton has a soulful enough voice to pull it off, but you can also hear him straining to put power behind the higher notes. The instrumental break even adds in some light prog, and you almost think the band is on their way back. Kerslake's contribution comes next with 'Who Needs Me', a more straightforward rocker, and Lawton's vocals prove their rock god possibilities. 'Wise Man' was an attempt at a single from the album. It is a slow rock ballad drenched in synth keys that are still restrained. It's a predictable track that in theory should have done well for a single, but didn't seem to chart anywhere in the world. Not a bad track that should have sounded good on the radio, but nothing to get excited about either.

The 2nd half of the album begins with 'Do You Know'. Much like the opening track, this one draws on the thick organ sound, which almost brings a more constant drone-like quality, but the music is fast and upbeat again with a lot of spirit. But it is also quite poppy. This side of the album has two 6+ minute tracks, the first of which is 'Rollin' On', the next track. This is a nice, moderate moving track based on a blues-rock style. This track cements the hard rock style of the band and almost sounds like something that you would expect from 'Rainbow', 'Montrose' or any of the other hard rock bands of that style. Other than a repetitive chorus, it's pretty good with some great soulful guitar playing from Box. 'Sympathy' was another attempt at a single, which at least did chart in Germany. It picks the pace up a bit more, but is quite straightforward, and Lawton lets loose a scream during the vocals that doesn't really help and the song really doesn't go anywhere. 'Firefly' ends the album with the 2nd 6 minute track. Hensley and Kerslake help out on the vocals which build a nice harmonic chorus that will also recall the band's glory days. It is only the 2nd track that closely resembles anything prog, and when the song builds intensity later in the track, it really gets much better. It does have a more 'suite-like' structure, but fades much to early. You can tell that the band seemed to be on the right track this time, but unfortunately, it would have trouble following through with this completely in subsequent albums.

The 2004 deluxe edition adds a lot more tracks to the album. It starts with 'Crime of Passion' which was a non-album b-side to the 'Sympathy' and 'Wise Man' singles. It is one of the heavier tracks from the album sessions with a good guitar riff. Three outtakes follow this, starting with 'A Far Better Way' in a demo mix. It has an unfinished sound to it, as expected, but not a bad track that would have been decent with a little more work. It starts weak, but gets better as it continues and has Lawson hitting a lot of high notes at the end as he tries to turn it into an anthem. 'I Always Knew' starts to show the band running out of ideas, and it lacks anything new or interesting, sounding like bad 70's plastic funk, like they were trying to write a song that would be eligible for 100s of prom night theme songs. This was a good one to leave off of the album. Unfortunately, the next one is even worse: 'Dance Dance Dance' is a horrible attempt at disco or something equally as bad. Ugh!

At this point, the bonus tracks goes to alternate versions of songs on the album. There is a demo version of 'Been Away Too Long' which seems to go from being lifeless to over-the-top in split seconds and another demo version of 'Do You Know' which is a little bit better than the previous track. This is followed by a long 9+ minute live version of 'Who Needs Me'. This version incorporates a long guitar solo which is accompanied by a repetitive background riff. It's a good addition that allows the listener insight into the band's concerts. During this time, the band was opening for 'Kiss', and this track shows UH's dominance in the talent aspect over the questionable musical talent and quality of Kiss. The reissue ends with the TV backing track for 'Wise Man' that was used for commercial purposes.

The reissue does add a little value to the overall album, but not enough to boost it above the 3 star rating that the original album generates. Firefly is a good enough album and is a good attempt to return to form for the band, but instead of building on that, UH makes the mistake of continuing to become more commercial friendly. The album is good enough, but has very few progressive moments. However, it isn't obnoxiously commercial either. You can detect some real spirit from the band. The only time this lacks is when the band ventures away from that into a more popular music territory, and unfortunately this will continue for several albums. Firefly is not a complete wash out though, and should be heard if you have a chance. But it is still material that is far away from the stellar material of their glory days, yet it is still better than "Fallen Angel" and other albums that are yet to come.

The album prior to global mega success The Wall, shows us the great state of form of Pink Floyd, despite the fact that there are already multiple conflicts between Roger Waters and the rest of the band. Animals has little to do with the atmospheric travels of his previous albums and spatial references, and increasingly focuses on the problematic relationships between power and politics, morality and acid criticism of the type of personalities who rule the world, of which Waters feels increasingly disenchanted, and he divides the album into 3 parts, each represented by a type of animal, which categorizes humans: the materialists, who want to achieve their goals no matter how, and end their days alone and sick. , as a consequence of the arrogant acts in his life (Dogs), the false moralists, who want to project a moralistic and decent image more by appearances and private interests than by conviction (Pigs), and ordinary people, who in the end are the flock (Sheep), who pays for the consequences of dog and pig abuse.

The 3 songs maintain a superlative level, being Dogs with its 17 minutes what I consider musically outstanding, Gilmour's acoustic guitars and the development of the entire musical concept, and the ending with all the "who's" is simply incredible. One of the best Pink Floyd songs of all time without a doubt. Pigs very close to that level too, Richard Wright's keyboards and Gilmour's guitars with a flawless solo finish, are the best of the song. Sheep is also a very good one but I think it is one step below the previous ones.

The album starts and closes the same song but with different lyrics (Pigs On The Wing 1 and 2), each of just over 1 minute, a beautiful composition played only with acoustic guitar and Waters voice, highly recommended for who like unplugged sounds.

Animals is an album that is part of the most relevant works of Pink Floyd and an essential piece for every progressive fan.

Fairport Convention's three records with Sandy Danny are among my most cherished records. 'Unhalfbricking' is the type of record I put on directly after connecting my new stereo speakers. And then ask myself; can I get even more intimate with this angelic record? It has a perfect warm '69 sound, that unique folksy sentimentality and of course the angelic vocals of Sandy Denny. It makes me feel right at home. The band had started to experiment with traditional folk on their eclectic predecessor 'What we did on Our Holidays' (also 1969) under influence of the freshly recruited Sandy Denny. On 'Unhalfbricking' the band would expand on that. Moreover, Sandy Danny would sing almost all the songs here. The album has many unforgettable performances, only the three shorter contemporary folk songs are slightly less impressive - though still quite enjoyable. Richard Thompson would introduce a lot of great guitar 'vamps' (riffs) for the electric folk genre, most notably on the meditative 'A Sailor's Life'. 'Genesis Hall', 'Autopsy' and 'Percy's Song 'excel at evoking that ever sweet folk melancholy with which the band can instantly familiarize new listeners - as I witnessed on many occasions. This type of music should however be approached for what it is; greatly performed electric traditional folk. It is innovative and deep, but not progressive per se. My rating reflects my appreciation for the record and I think a serious vinyl collector of early progressive wouldn't want to skip on this.

Though Fairport Convention is often cited as the sole instigators of the folk-revival movement, I would urge people to look up albums of early Judy Collins ('A Maid of Constant Sorrow' or 'Wildflowers'), Shirley Collins (I recommend 'Anthems in Eden'), Tim Hart & Maddy Prior (Folk Songs of Old England) and the Steeleye Span debut.

The Australian metal boom of the past decade or so has produced some absurdly talented bands and some truly classic albums. Caligula's Horse is definitely counted amongst one of those absurdly talented bands and has a few of those classic albums under their belt. Their latest record, however, is definitely not of them; unless, of course, you're perfectly ok with the bands you love regurgitating everything they've already done.

As far as albums with ambient djent and pop sensibility are concerned, I guess Rise Radiant is not necessarily a bad record. But listening to it only serves to remind me how much I'd rather be listening to their previous records, or Sky Harbor, or any of the other great Aussie metal acts making noise these days.

In hindsight - pun intended - this is perhaps the best acid-rock album by German krautrock group Guru Guru. Though this album is probably one improvised affair, it still reaches depth when it comes to exploring the (tape- manipulated) electric wah wah guitar. Needles to say Jimi Hendrix is the main inspiration here, but the music hardly evokes that soul-infused rock style of the sixties. In stead 'Hinten' evokes that psychedelic krautrock feel with hints of early doom influences from Black Sabbath and the wild early hardrock of MC5 . The album also reminds me a bit of The Human Beast, a rarity fans of this album should look for. The recording sound is quite superior to the especially rough debut album of the band ('UFO', 1970) and the stereo effects add to the spaciousness of the music. The heavy distorted guitar of Ax Genrich is the main attraction, but in the rhythm section the drums of Mani Neumeier are starting to show his tremendous talent. On 'Hinten' the band introduces more composed parts, but the largely structured riffing of follow-up 'Kanguru' is still quite far away. Whereas that record would have a brilliant second side, 'Hinten' is actually quite balanced and enjoyable from start to finish. It does sound like a lot of the same at first spin, but when it grows on you the way of thinking and distinct creativity of this record starts to reveal itself. The last track 'Space Ship' is a track in which the band expands on its use of delays, 'out there' vocals and tape manipulations. It could therefor attract some Hawkwind listeners and space rock fans in general. In conclusion, this is a well-recorded acid-rock & krautrock gem that can't be bested in what it does.

A.F.T are a four piece band from Reading England led by guitar players Paul MacDonnell and Robert Cross, this self titled album is their only one released in 1976. I really wanted to like this album since it seems to be right up my alley but I just can't get into this at all. I bought the album years ago and played it quite a lot since then but unfortunately it doesn't click, so I'm officialy done with the album now. The concept of it is simple, a dual guitar attack accompanied by bass and drums no keys involved, very much inspired by bands like Wishbone Ash and Rush, even early Iron Maiden comes to mind in a few places. Apart from being inspired by heavy hard rock and progressive rock bands there's also some classical influences for a good measure. Unfortunately the band's strength turns out to be their weakness, while trying to produce an all instrumental album leaning heavily on guitar interplay, it's eventually all you get and that's not enough. Don't get me wrong these guys are pretty tight and definitely know how to play, I see a lot of positive reviews for it but sadly there isn't anything memorable throughout the album to make you wanna come back, this non stop jaming is very tiring and exhuasting.

The album is mostly instrumental, there are 2 short tracks one with vocals and 2 long pieces, but it doesn't really matter where you put your finger on the album it always sounds like your in the same place. The sound is very good and supposed to be a heaven for all you 70's guitar aficionados, both Cross and MaCdonnell's sound is strong and crunchy, and with all those blazing solos I should have been dancing like a madman. There are a few problems with the album, the first being there's not much of songwriting here, yes they came up with a few riffs, ideas or leads and of course some of it is good but it's not enough to my ears, they pretty much grind their ass off with solos. The second problem is related to the first, it's the relentless same kind of sound that just doesn't let go, after a while your dying for a break but it never happens. The third problem and the most important one and I may be hunted down by fans of the band for this but I gotta say that although these guys can certainly play I'm missing something that's called soul and feeling, it's just too technical for me. Their fast paced dual guitars is their strength but they certainly overplay it. I don't want to sound so negative because this album has its qualities and of course may appeal to fans of the genre, it even starts out nicely with a few cool ideas weaved together but unfortunately the whole thing just goes over my head without leaving anything memorable, not even a second of it. While there are a few good moments they are overshadowed by the rest of the album. 2.5 stars.

When I first started listening to Rhythm Of Love with that very hopeful introduction that we were returning to the more progressive Yes, Alan White's drum kit reminds us that that time was already past. In 35 seconds the illusion is over. It is a warning that we are once again facing a new stage of the group, with a strong rocker influence from Trevor Rabin, who is undoubtedly a great composer and excellent guitarist, and who led the group in other ways, such as in 90125, a little more accessible and commercial. And so we find the promoted Love Will Find A Way, a beautiful melody that has little to do with the group's sources and a style similar to Rhythm Of Love.

I do think there are two songs that are very remarkable. One of the best they did at this stage with Rabin, the stormy and powerful Shoot High Aim Low related to war and humanity, with a slow but dramatic development, the best song by far from the album. And on the other hand, we have Holy Lamb (Song for Harmonic Convergence), with which the work ends, an excellent melody by Anderson, which seemed more appropriate for a singer's solo album.

Of the rest of the songs, the introduction of Final Eyes is interesting, with the voice of Anderson and the acoustic guitars of Rabin, and of the others (Big Generator, Almost Like Love and I'm Running), except for some isolated flashes, they don´t add much value to the album.

Big Generator is a correct job that has more to do with hard rock than with the progressive world.

Review Nº 341

'Grave New World' is the fourth studio album of Strawbs and was released in 1972. This is another conceptual album, this time it depicts the story of one man's life from the beginning, 'Benedictus' until the end, 'Journey's End'.

As with their previous studio album, 'Grave New World' shows the continue movement from the Strawbs' original folk leanings, for a more progressive rock sound. It was so evident that the founding member Tony Hooper began to be uncomfortable with this option and left the band after the recording sessions. This was also the first studio album released by the band after the departure of their keyboardist Rick Wakeman, who left Strawbs to join Yes. Blue Weaver was the man recruited to substitute Wakeman. He was considered by fans a more than adequate replacement for him.

The line up on the album is Dave Cousins (vocals, acoustic and electric guitars, dulcimer and recorder), Tony Hooper (vocals, acoustic guitar, autoharp and tambourine), Blue Weaver (organ, piano, harmonium, Mellotron and clavioline), John Ford (vocals, bass and acoustic guitars) and Richard Hudson (vocals, drums, sitar and tablas).

The front cover of the album is a reproduction of the 'Glad Day', a picture of William Blake. The original vinyl version had a luxurious artwork, including a pamphlet showing all the lyrics on the album and details of all instrumentation used on the album. Fortunately, I have the honour of have one of those copies on my hands, bought in the old 70's.

'Grave New World' has twelve tracks. The first track 'Benedictus' written by Cousins is similar to 'A Glimpse Of Heaven' from their previous studio album 'From The Witchwood'. It's a well constructed song with a delightful organ break in the middle. This is a great opener and a fantastic musical moment. It's my second favourite song on the album. The second track 'Hey Little Man'Thursday Child' and the sixth track 'Hey Little Man' Wednesday Child' are written by Cousins. This is a short, simple and calm acoustic song, divided into two parts and performed only with vocals and acoustic guitar. It's about an older man giving advices to his youngest son. The third track 'Queen Of Dreams' written by Cousins is one of the most experimental songs of the band. It's an ambitious song with some psychedelic influences and with its beats recorded in reverse. This is another great moment on the album. The fourth track 'Heavy Disguise' written by Ford is another short song on the album. It's a great tune with good lyrics. This is a song well performed, with a brass section played by the Robert Kirby Silver Band, which gives to the track a special feeling and a very different place on the album. The fifth track 'New World' written by Cousins is an incredible and fantastic song. This is the most powerful song ever made by them and is, perhaps, their best song too. It's a song that grows in intensity as the song progresses, full of Mellotron and has one of the best vocal performances of Cousins. It's a perfect song and one of the best in the progressive rock scene. The seventh track 'The Flower And The Young Man' written by Cousins is a beautiful melodic song, with great vocals about the changes of the seasons. It's a folk song with a remarkable use of organ and Mellotron. The eighth track 'Tomorrow' written by Cousins, Hooper, Ford, Weaver and Hudson is another highlight on the album. It's the more rock song on the entire album and has a great symphonic sound. This is the hardest rock tune on the album and is, perhaps, the song that most upset Hooper. The ninth track 'On Growing Older' written by Cousins is a short folk acoustic song, very nice and cool that sounds as an old English song of the 60's. It has interesting lyrics about wasting the youth with reaffirmation of the life's wonder. The tenth track 'Ah Me, Ah My' written by Hooper is another short song and despite be fun, is the weakest song on the album. Sincerely, it sounds to me a bit inappropriated to the album. No wonder that Hooper stayed upset with the album in general. The eleventh track 'Is It Today, Lord?' written by Hudson is another highlight on the album. It's a mystical song, much Indian, with sitar, tables, autoharp and Indian harmonium. The lyrics talk about the end of the man's life. The twelfth track 'The Journey's End' written by Cousins and Weaver closes the man's life journey and also the album, magnificently. It's a very beautiful song, only with nicely vocals and a delightful piano performed by Weaver. Finally, the journey is complete.

Conclusion: 'Grave New World' represents, in my humble opinion, another major step forward in the musical career of Strawbs. It's also one of their best albums and personally, it's my favourite musical work of them. I bought this album for more than forty years and I always loved it. It always had a very own place into my heart. It's one of the best albums of 1972 and one of the best progressive folk/rock albums ever made. Sincerely, if you don't have this album and you like prog folk/rock music, don't hesitate and get a copy of it. And if you can put your hands on one of those luxurious vinyl copies, better for you. Between 1971 and 1975 they made quite a few essential albums, and 'Grave New World' shows Strawbs at their finest moment. This album helped to put Strawbs as one of the best British prog bands ever.

Prog is my Ferrari. Jem Godfrey (Frost*)

Rick Wakeman's presence was always very important to me in defining the group's musical proposal. After his departure after the extensive Tales From Topographic Oceans (1973), he returns 4 years later, and gives him an influence and nuances from the keyboards that have contributed to Yes being considered one of the standards of the progressive. Although he does not sign the compositions, generally in the hands of Anderson, Howe and Squire, his contribution gives them a unique solidity and textures.

And so Going For The One brings us the extraordinary Awaken, with its splendid 15 minutes, a surreal and mystical composition, in my opinion it is one of his best songs of all time. From the start with Wakeman's piano, the intermission with Wakeman and Squire himself on bass in an endless trance, accompanied later by Howe's mastery of guitars, giving way to epic instrumentation and a quiet ending to the Anderson's hand. Turn Of The Century, for its part, evokes lags in the Tales From Topographic Oceans, a beautiful work that tells us of a sculptor who makes a statue to honor his beloved, deceased, who later comes to life. Both Howe on guitars (acoustic and electric) and Wakeman on keyboards, both are superb. Parallels, with those church organs, The Wonderous Stories, a short, upbeat and very typical Anderson song in its most positive way, and Going for The One with that Howe hardrock riff, complete this album, the latest one of the most representative works of Yes in its progressive symphonic facet. Indispensable work for any fan of the group.

Be sure to listen, this is an intriguing entity! Avantgarde, Math, Fusion, Eclectic, Space, all that would be appropriate in some way, when trying to describe their music. Right on the stage the energy is thriving, obviously. In recent times I already had the pleasure to follow some of their live takes offered on youtube. And the recordings taken for this album are the result of nearly such circumstances at the Metropolis Studios, situated in London. That means a more intimate show setting due to a small invited audience. The four musicians are performing already known songs in a slightly modified manner. And, to be also expected of course, they are in very good shape on this occasion. First of all, due to Dave Morgan they are having one hell of a drummer in the ranks, extremely acting to the point, it's a pleasure to follow him.

Okay, trying to be fair, the others, to name guitarist Samuel Organ (yeah, really!), Adam Hutchison (bass) and Miles Spilsbury (saxophone, synths), are not staying in the back here. That should be added. The quartet delivers a set which is quite overwhelming. There's a lot of jamming to state actually. But nevertheless, one can say that's just proper free space, reserved by the well thought out compositions. The Death Sequence suite deserves a special mention, their newest effort, especially the third part, which is simply brillant. Though this is cut open, one can say, by the speedy track Calypso. Not sure about the deeper sense. Anyway, we can file this under artistic freedom definitely. Finally said the couple Holy Caves/Surrogate Head always makes my day when listening. Wow, do not miss that artistic highlight!