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This excellent and underrated German band, very influenced by RENAISSANCE, did the best progressive rock in the worst time. While the Annie Haslan band forgot its magic during '80s (example, the terrible "Camera Camera"), REBEKKA created "Phoenix", a wonderful album in the best symphonic tradition.

"Phoenix" is very related to the creative and complex side of RENAISSANCE (but not a copy) and there's nothing to envy from great albums as "Novella" or "Scheherazade". REBEKKA achieved a fantastic, very elaborated and atmospherical album, with lots of non- typical percussions plus sax and harpsicord. Marion Weldert voice is magnificent (related to Annie Haslan; some pieces are sung in English, some in German).

Highlights are "Swan Song", "Phoenix" and "Floating Dawn", but -really- seven tracks are melodically outstanding and extremely well played.

This only REBEKKA production is highly recommended for all progressive ears, and a must for RENAISSANCE fans.

Although REBEKKA did produce two albums, many believe "Phoenix" to be their sole effort, putting them in the company of a whole host of one-off German bands of the 70s and 80s. They do manage to set themselves apart in a number of ways, but chiefly in their professionalism and the degree of maturity manifest from the get-go. Moreover, the style presented herein lies on the boundary of symphonic and folk, a magical land inhabited by the very few melodious denizens a la RENAISSANCE and STRAWBS.

Having a lovely female vocalist doesn't hurt REBEKKA's comparisons to RENAISSANCE, but in "Imaginary Regards of An Irish Sun", the resemblance is striking as the final vocal line is uttered. Then again, Marion Weldert sings well in both German and English. Hubert Schneider's lead guitar adds a further dimension, sounding a bit like JOHN LEES of Barclay James Harvest, but more complex, and best heard on the scintillating "Floating Dawn". Brass and woodwinds lend a more jazzy ambiance to the already sophisticated "Swan Song" and the monumental 10+ minute title cut, in which everyone shines, and Peter Laubmeier's keys are especially atmospheric. The album finale, "Lotus", is more like a raga rock jam and hints at the group's live performances and their high degree of improvisation. It's a bit harder to assimilate, but decidedly worth the indulgence. Only "Lithpas" seems a bit weak compositionally and creatively, even if the playing is of the same high standard, particularly by Schneider.

That such a marvelous progressive album could come from a new group in 1982 seems like so much mythology, but here we have it. Highly recommended to those symph/folk/jazz fans who want to plumb the ashes of a bygone age to see what might arise.