TIBET

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Lots of hammond and mellotron and the classic taste of German bands like ELOY or NOVALIS. Very good, specially for 70's sound fans. It was a band that, in the beginnings, started playing indian music, but changed the style due the difficult to play perfectly some instruments typical from that kind of music. TIBET disappeared in 1980 because, like many prog bands, members couldn't live with the music fees. Highlights: Both instrumental tracks ("White Ships And Icebergs" and "Eagles") and, specially, "No More Time".

4.5 stars - another overlooked Prog beauty!

TIBET is another forgotten band from 70s and discovered only now. It's a unique blend of URIAH HEEP and CAMEL, if you can imagine one, but it's never a clone. Played with Germanic drive, it may remind one of ELOY ot NOVALIS. Another honorable influences may include GENESIS ad TAI PHONG. With highlights like "Seaside Evening" (what a ballad!) this album is a real Forgotten Gem from 70s - it's a shame my review is going to be only 7TH ONE!!! Please rate it as it needs more attention! Not to be missed by genre's fans!!! Extremely recommended!

Tibet came and went and left us only the one album, and it is a pretty good one, although it can get lost in the shuffle as there are so many equally good or better German symphonic bands from their era. Their strengths are the strong keyboard and bass backing. Their main weaknesses are the mildly irritating singer, whose somewhat grating style does not suit the nature of the music, and their songs are mostly not particularly memorable.

The band at their best is on display in "Seaside Evening", where Kalus Werthmann's voice is put to best use and the hooks are strong. It seems to presage some of the "next wave" of German prog, such as P'Cock, although common ancestry is the more likely explanation than any direct influence. Another highlight is the fine instrumental "White Ships and Icebergs", with its mellotron opening seguing into some stellar organ playing. While there is a short acoustic guitar break and even some nice lead guitar, this is definitely a keyboard dominated tune and album.

While this isn't a uniformly strong album, and certainly not the classic, lost or otherwise, that it's often touted as, it's worth pointing out how many bands improved after their debut and, unfortunately, how many bands like Tibet were not given that opportunity.

A gem from Germany that goes rather to unnoticed in prog rock circles

Tibet sole album from 1979 selftitles is areal gem of symphonic prog of the late '70's. One of th better albums of that period, with nice and catchy pieces, excellent keyboards and mellotron arrangements that pleases me completly. Besides the pieces with lyrics who are very well played, two intstrumental tracks grace this album: Eagles and White Ships And Icebergs, absolut superb , I wasn't expect to sound so good and so well performed, really, the musicians play so easy, not pretentious, but quite complex and very inventive. The pieeces with lyrics are also very good like: Take What's Yours, . City By The Sea or No more time, excellent musicianship that shows that Tibet was really something in german scene , but without any luck finaly thay disbanded latley in 1980. Tibet is one of the good examples of symphonic prog with many qualities and highlights. So, a worthy album for sure, not necessarly a lost masterpiece, but very strong and very unnoticed in prog cicles, thaey desearve a better view. 3.5 rounded up to 4, because they sound much better then many bands from that era, not only from Germany . Similar with Minotaurus also from Germany , Camel in places or Eloy but less spacey.

Regarding the rumors this Musea reissue is actually a re-recording that may or may not have been made by original members, I think that can be dispelled: the 1994 re-release was taken from a surviving vinyl LP and the sound cleaned-up. Beyond that, the material appears to be the real thing, recorded & mixed in Germany during the autumns of 1976, '77, and '78, and credits all original band members.

Of course after all that trouble, is the music worth it? Well, it ain't bad. Tibet does have the characteristics of a group just a few years behind the rock 'n roll curve with plenty of talent and good ideas but by the time they'd released anything, the whole progressive thing had pretty much run its increasingly tenuous path. Granted, Tibet may not have been interested in outdoing anyone, but you can't blame the general listener who by 1979 were more & more distracted by the likes of Queen, Van Halen, The Police, and Rush. Another introspective, meandering slice of organ-rock wasn't going to start any earthquakes. In fact there are a few moments when this album sounds more like something from the previous decade, with distant but distinct ripples of Jefferson Airplane and early Deep Purple. There is also a rabble-rousing, sports minded, get-up-and-fight attitude from lead singer Klaus Werthmann much like Rob Halford's cantankerous provocations that works well against the tailored music. But at the end of the day, we have a fairly good album that was as passé then as it is now. Normally in Prog archeology that's no curse, and for those still discovering the full spectrum of 1970's progrock - particularly artists as Camel, Birth Control, Babe Ruth, and Eloy - this will be a perfectly fine item. For the rest, well...

'Fight Back' is a reasonable rocker whereas 'City by the Sea' exudes notable pomp and pleasantries from the keys of Kumpakischkis & Ballin, expanding for ocean-worthy 'White Ships and Icebergs' and its familiar progisms. More nautically oriented stuff in melodic 'Seaside Evening', and 7+ minute 'Take What's Yours' is a very good quick-tempo jam in the manner of Santana with the band's percussion knitting well. 'Eagles' builds nicely with organ, Karl-Heinz Hamann's pointed bass lines and Fred Teske's patient traps, and anthem 'No More Time' finishes.

Nearly great, almost original and a few cards short of inspired, Tibet tried very hard, and for that they get my respect.