MAELSTROM

MAELSTROM were an American band who released a small pressing of this album back in 1973. It was called "On The Gulf" but for some reason when this was re-issued by Black Moon Productions they changed the album's title to "Maelstrom". Anyway this is truly an album that sits right at 3.5 stars for me. Even Andy at Planet Mellotron rates it at 3.5 stars. Lots to like and it certainly can get adventerous but there's also this late sixties vibe with the vocals and sound. An interesting album regardless, but this is hit and miss for me. Lots of mellotron as well on all but one track.

"Ceres" is very sixties sounding, especially the vocal style. Each time the sound gets fuller the organ floats in with power. "In Memory" is uptempo with crazy sax and even though it settles down before 1 1/2 minutes the insane sax continues. Some dissonant sax late as well. Excellent track. "The Balloonist" settles in before a minute and I like the guitar and flute that follows. Sax returns and we get vocals before 3 minutes. Two very good songs in a row.

"Alien" opens with piano as reserved vocals join in and it gets fuller. Vocals follow then we get a calm with piano after 2 minutes. The guitar then solos tastefully. An okay tune. "Chronicles" is another one i'm not too fond of. The focus is on the vocals until around 2 minutes in. Vocals are back a minute later as well as some promininat sax. "Law And Crime" is brighter with vocals. Floating organ and more follow. "Nature Abounds" ends the original album with a ballad-like tune. Yikes ! No i'm okay I was just startled by this. The sax and drums late are good.

Like Andy says there is a MOODY BLUES vibe happenig here and to a less extent ELP. The bio here mentions IT'S A BEAUTIFUL DAY which is a good refernece as far as the vocals go. So if your into Proto-Prog and that early sound chances are you'll love this one.

An overlookied US band, formed in early-70's and led by guitarist/keyboardist/sax player Robert Williams aka Roberts Owen (R.I.P.).The original line-up featured also multi-instrumentalist James Larner, keyboardist Mark Knox, drummer Jim Miller, bassist Paul Klotzbier and Jeff McMullen on lead vocals/guitars.Maelstrom had a private press LP out in Canada, recorded in 1973 at Fort Walton Beach in Florida and very rare nowadays, originally released under the title ''On the gulf''.

Why this band is so overlooked remains a huge mystery to me, as Maelstrom had one of the most eclectic and intricate sounds back in the days.Every track shows a different amount of influences and musical approaches, always played under a very complicated yet well-structured musicianship, offering a huge and dramatic sound like a cross between ETHOS, CATHEDRAL and YEZDA URFA.There are strong amounts of melodies and acoustic passages in the vein of GENESIS, huge sax-based more improvised sections in the vein of VAN DER GRAAF GENERATOR and SOFT MACHINE, smooth electric parts with delicate vocal harmonies as tribute to CARAVAN, complex interplays as GENTLE GIANT first ever presented and YES-like adventurous symphonic orchestrations with a superb atmosphere.Heavy loads of Mellotron and organ, jazzy-flavored sax atmospheres, dramatic orchestrations with good electric parts, instrumental battles and endless changing climates can be detected constantly, leaving the most demanding proghead satisfied.

In 1997 Black Moon Records re-issued the album in CD format under the title ''Maelstrom'' and this work contains a couple of extra tracks recorded live by Maelstrom in 1980 at the ''Three Rivers Festival'' in Indiana with only Owen and Klotzbier from the original line-up along with keyboardist Kent Overholser and Rollin Wood on drums.''Opus one'' has a strong E.L.P. vibe with organs leading the way along with some dramatic synth work in a classic Symphonic Rock track, while the longer ''Genesis to geneva'' is a bit more of a loose instrumental composition again in a Symphonic Rock path but surrounded with some more Avant-Garde/Fusion atmospheres, where synths, organ and electric guitars are on the forefront.

A fantastic discovery for all fans of adventurous Classic Prog.Interesting combination of Symphonic Rock, Cantebury Prog and Jazz-Rock, where so much is going on.Definitely among the finest releases of the time in the USA/Canada and highly recommended.

Be warned!! This is not the same Maelstrom you are used to. After only having listened to their amazing debut album, I was hungry for more. I searched high and low for this and finally found a copy. I listened to it and immediately was disappointed. This album has a STRONG R.I.O influence and is not at all the charming Canterbury style jazz rock that the first album is. It is jarring, it lacks normal tempos, and is about as R.I.O as R.I.O gets. So if that's your thing pick it up, if you are looking for more of the same then unfortunately you will not find it here. That said it makes good background music.

Maelstrom's eponymous effort is one of those very hidden gems of USA's prog that generate unexpected pleasure once they are discovered by the meticulous collector: originally released in 1973, the Malestrom album is an impressive catalogue of appealing songs that are framed in a combination of British proto-prog (Gracious, Procolo Harum) and the melodic side of Caravan, with added touches of mellotron layers and counterpoints that seem to hint to Genesis and Gentle Giant to a certain degree. The psychedelic R'n'B elements are related to Vanilla Fudge and Traffic. The vocal deliveries are competent but are not the band's forte: that should be the instrumental input, enriched by the musicians' disposition to bring in lots of diverse items (two keyboards, flute, saxes, tuned percussion) besides the usual guitar/bass/drums. Even though, the ensemble's sound is never charged: the dynamic rhythm section and the calculated interactions keep it flowing through teh controlled complexity of the basic compositions. As outdated as the album is, the melodic ideas remain fresh for everyone who cares to listen closely. 'Ceres' kicks off the album on a very lyrical fashion seasoned with jazzy undertones: a succession of various section begins before arriving at minute 2, displaying a real musical treat that includes some slight dissonant progressions. The Canterbury influence is more easy to notice in the impressive instrumental 'In Memory', a hell of a piece that wouldn't have been out of place in an Egg or early Soft Machine album: the GG-friendly adornments and the bluesy edge add extra spiece to the track. 'The Balloonist' sets a sort of confluence between both previous tracks' moods, this time giving the lead guitar more room for expansion. 'Alien' slows down the pace of things in order to create a more relaxed ambience, close to the standards of Procol Harum and Gracious. 'Chronicles' follows a similar path during its first half; for the second half, there is a shift toward a jazzy interlude that eventually leads to an effective climax. 'Law and Crime' is the least complex track in the album, setting a Traffic-oriented mood in a catchy R'n'B workframe. With 'Nature Abounds' and 'Below the Line', the band resumes its progressive ambitions in full swing. The former is based on a melancholic atmosphere based on a moving motif; the latter alternates pastoral nuances and dense ambiences, always preserving a well-defined basis that develops with fluency through its increasing intensity. The Cd edition contains 2 bonus tracks, performed by a very modified line-up in a rock festival that took place in 1980. The material is totally instrumental, and more decidedly focused on the symphonic side of prog: Camel and ELP sound like the most recurrent influences in 'Genesis to Geneva' and 'Opus One', although the jazz factor is still a powerful component in tne band's music at the time. Maelstrom is a very pleasant surprise for the collector - original 70s prog rock from the USA.

Really, one of the underrated American prog albums out there. How unimaginative mediocrities like Babylon and Easter Island can net all the rave reviews while jewels like this can languish in utter obscurity I'll never understand.

A blend of the usual Yes and Genesis influences, but this time with Canterbury-style influences gleaned from Caravan and Soft Machine. A dense yet sound with a variety of keyboard sounds plus woodwinds and tuned percussion make this a constant adventure to listen to. Vocals by Jeff McMullen are clear-toned yet expressive. The CD contains two bonus tracks from a later line-up, with a stronger jazzy influence and a little lighter on the sympho stuff.

In all, an excellent release still waiting to be rediscovered. Recommended.