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BLUE EFFECT (MODRÝ EFEKT; M. EFEKT)

Jazz Rock/Fusion • Czech Republic


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Blue Effect (Modrý Efekt; M. Efekt) picture
Blue Effect (Modrý Efekt; M. Efekt) biography
Lead by ace guitarist Radim Hladík, BLUE EFFECT were one of the major progressive bands in Czechoslovakia; they were to their own country what OMEGA were to Hungary, or SBB to Poland. They started out in 1968 with a couple of early R&B-oriented albums. However, the Czech governement strongly disapproved of English names at the time, so the band switched to MODRÝ EFEKT and later to simply M.EFEKT. After these two albums, their material veered towards jazz rock and by the early 80's, following sereval personnel changes, their music had become a little less prog, more accessible. They released their last album in 1981 and then quietly disappeared.

Of particular interest to prog fans are three albums: "Modrý Efekt & Radim Hladík" (1975) which features an energetic mix of YES-like symphonic rock with some fusion; the overall effect will likely remind you of FINCH or CRUCIS. Emphasizing Hladik's brilliant soloing, this was the album that established him as "the" Czech guitarist par excellence. However, it is "Svitanie" (1977) that is considered the band's true masterpiece. With its sinewy bass lines and bold keyboard/guitar melodies, it is still quite YES-influenced but it also has a definite Czech flavour that makes it unique. Finally, there is the bolder, more complex and not so YES-like album titled "Svet Hledacu - World of Searchers" (1979); this one is characterized by many sudden tempo shifts and emphasizes the flux between the spacey synths and Hladik's biting guitars. Except for this album, whose 5 official tracks are all sung, the band's répertoire is mostly instrumental.

Primarily recommended to fusion lovers but YES fans will also likely find something to sink their teeth into.

: : : Lise (HIBOU), CANADA : : :

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BLUE EFFECT (MODRÝ EFEKT; M. EFEKT) discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

BLUE EFFECT (MODRÝ EFEKT; M. EFEKT) top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.29 | 63 ratings
Meditace [Aka: Kingdom Of Life]
1970
3.65 | 63 ratings
The Blue Effect & The Jazz Q Prague: Coniunctio
1970
3.28 | 65 ratings
Nová Syntéza [Aka: New Synthesis]
1971
3.69 | 58 ratings
Nová Syntéza 2 [Aka: New Synthesis 2]
1974
4.30 | 137 ratings
A Benefit Of Radim Hladík [Aka: Modrý Efekt & Radim Hladík]
1974
4.28 | 129 ratings
Svitanie
1977
4.31 | 115 ratings
Svět Hledačů
1979
4.10 | 89 ratings
33
1981

BLUE EFFECT (MODRÝ EFEKT; M. EFEKT) Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.75 | 8 ratings
Blue Effect & hosté - Live
2008

BLUE EFFECT (MODRÝ EFEKT; M. EFEKT) Videos (DVD, Blu-ray, VHS etc)

4.60 | 5 ratings
Live And Life
2008
4.00 | 4 ratings
Acoustic/Time
2011

BLUE EFFECT (MODRÝ EFEKT; M. EFEKT) Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.83 | 6 ratings
Beatová Síň Slávy
2004
4.69 | 23 ratings
1969-1989
2009

BLUE EFFECT (MODRÝ EFEKT; M. EFEKT) Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.67 | 3 ratings
Snakes (Edice Mikrofóra)
1969
3.08 | 6 ratings
Slunečný hrob
1969
3.67 | 6 ratings
Nězná / Záhada jmelí
1983

BLUE EFFECT (MODRÝ EFEKT; M. EFEKT) Reviews


Showing last 10 reviews only
 The Blue Effect & The Jazz Q Prague: Coniunctio by BLUE EFFECT (MODRÝ EFEKT; M. EFEKT) album cover Studio Album, 1970
3.65 | 63 ratings

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The Blue Effect & The Jazz Q Prague: Coniunctio
Blue Effect (Modrý Efekt; M. Efekt) Jazz Rock/Fusion

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

5 stars There were two great early prog rock bands that emerged in the former Czechoslavakia in the city of Prague, capital of the current Czech Republic. MODRY EFEKT (or Blue Effect) began merely as a blues rock band but displayed meagre progressive touches on their debut "Meditace (Kingdom Of Life)" whereas JAZZ Q PRAHA formed all the way back in the early 60s were predominantly inspired by the late 50s avant-garde jazz greats such as Ornette Coleman, Cecil Taylor and the great Sun Ra. While MODRY EFEKT managed to release their debut album the same year, this collaborative effort between the two groups would be JAZZ Q PRAHA's debut appearance and the album had such an impact on both bands that it would forever steer their cross-pollination efforts into entirely unforeseen musical arenas. This album is unusual in many ways.

First of all only the first and last tracks are the only collaborative efforts that feature both bands playing together. The second track is a MODRY EFEKT only affair and the same goes for JAZZ Q performing the third. Secondly, this album came out all the way back in 1970 behind the Iron Curtain where almost every aspect of an artist's creative process was controlled by the state. It is an astounding miracle that these two bands could have created something this utterly wild and complex at this early stage of progressive rock's history when many of these tracks remind the listener of contemporary and future acts. Most likely this is because the album is entirely instrumental with no lyrics so censorship was unneeded since there are no references to politics. This music is insanely advanced and is one of those crazy complex prog albums that will require many jazz, prog and classical appreciation classes to master any intelligible understanding on much of the album's run.

The album is only 39 minutes and 45 seconds in length but the beginning track "Coniunctio I" swallows up 19 minutes and 15 seconds of its real estate. This is by far the most demanding track on the entire album as it begins with screeching saxes and erupting organs swirling around in a cacophonous din before it finally cools down into a bass driven groove with a 60s psychedelic rock vibe complete with echo effects and ghostly guitar licks. After a couple minutes or so it turns into a heavy rock sequence that offers a taste of heavy blues rock with a sizzling sax that spirals out of control into free jazz territory along with some kind of whistling noises and frenetic organ counterpoints. Wow! There's nothing i can think of from this period of prog history that matches the intensity of this track and were only about five minutes in which enters i swear a louder version of Miles Davis' "Bitches Brew" which ironically came out the same year only half a globe away (before the internet or even legal access to American music) as a bass groove chugs along and keyboards dance Voodoo rituals around the bass driven campfire. After seven minutes it erupts into a bluesy guitar rock frenzy as Radim Hladík delivers one of the most demanding guitar solos of the era. Even Jimmy Page or Hendrix didn't get this heavy. After eight minutes it changes abruptly to a pastoral symphonically embellished flute solo that slowly ratchets up the tension into a jazzified melody with an oscillating keyboard effect and some kind of bells. The mood remains placid and subdued for a while as a jazz bass line finally enters and eventually sounds more like hard bop but then a Thelonious Monk style piano run casually strolls into the picture and then goes plain nuts but finally at the 14 minute mark an ostinato bass line hypnotically entrances while a fluttery flute line plays over it but after a couple minutes it ventures into a segment that reminds me of that frenetic part of Pink Floyd's "Saucerful Of Secrets" before the organ solo part begins. This track is phenomenal! At this early stage it has everything prog all rolled up into one. It has symphonic aspects, psychedelia, dissonance, heaviness, pastoral segments, blues, jazz, classical. Wow! A masterpiece of the ages.

"Náv?těva u tety Markéty, vypití ?álku čaje" is performed only by MODRY EFEKT and along with the next track by JAZZ Q PRAHA provides a centrifuge effect that allows the listener to distinguish which elements of the first track were provided by each band. It also allows a break in the freneticism and over-the-top complexity with a significantly more light-hearted bluesy rocker in a psychedelic rock framework that utilizes a beautiful flute to weave a melody like a fluttering butterfly through the track's shorter six minute time run. If you are familiar with MODRY EFEKT's debut then you will realize that the blues rock, the melodies and the psychedelic parts of CONIUNCTIO are in their camp and this second track provides all of those musical elements and creates a beautiful flute dominated psychedelic rock track that also becomes heavy with guitar and soloing. In fact, it sounds a lot to me like many of those Focus tracks such as "Eruption" on their second album only with more erratic rocking parts.

"Asi půjdem se psem ven" is solely performed by JAZZ Q PRAHA and like the MODRY EFEKT track gives an insight into which aspects of CONIUNCTIO belong to the band's signature sound. This track is straight out of the jazz playbook which starts off somewhat straight forward but soon spirals out into avant-garde jazz heaven and reminds me a lot of some of the space jazz that Sun Ra & his Space Arkestra were pumping out in the mid to late 60s. The time signatures of each instrument all exist in their own musical world and the combo thereof results in a cacophonous din that apexes in a frenetic John Zorn type of saxophone frenzy a good decade or so before he was assaulting eardrums with his own similar style.

"Coniunctio II" continues the collaboration of the first track but is completely different. It begins with a sumptuous flute melody but is backed up by a jarring dissonant guitar counterpoint and quickly picks up and becomes a rather Hendrix-esque guitar jam type sound with a Tullish flute accompaniment and at this point is the most normal sounding track of the album. It remains jammy sounding but ratchets up the tempo, dynamics and finds more instruments joining in until it reaches a cacophonous crescendo but at the heart of it remains a bluesy rock jam despite all the horns whizzing away at light speed.

CONIUNCTO is one of my favorite albums ever to have emerged from the old Soviet dominated Eastern European block and it doesn't get any proggier or complex than this one. This album titillates not only in a musical sense as it simultaneously pleases and assaults the senses but is fascinating to experience such a great work from the "forbidden" part of the world where the likelihood of a prog masterpiece emerging was virtually nil and only mere months after King Crimson, East Of Eden, High Tide, Marsupilami and other British prog bands were getting started. This album also shows the strong promise of collaborative efforts. Often these sorts of projects end up becoming watered down but the two bands found the right dynamic synergy to push each other further, the results of which steered MODRY EFEKT's path more towards jazz and likewise JAZZ Q added more rock elements when they would finally release their debut three years later. This one is an absolute under the radar masterpiece. Be warned though that this is nearly a 10 on the progometer as it is dense, complex and often impenetrable especially when the JAZZ Q elements are on full steam. This album has all the elements of early prog rolled into one package. It's heavy at times, it's pastoral and symphonic at times, it's psychedelic, it's jazzy, it's bluesy. It can be highly melodic with happiness inducing hooks or it can be dismally frightening with dissonant avant-garde jazz outbursts. One of my faves.

 Meditace [Aka: Kingdom Of Life] by BLUE EFFECT (MODRÝ EFEKT; M. EFEKT) album cover Studio Album, 1970
3.29 | 63 ratings

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Meditace [Aka: Kingdom Of Life]
Blue Effect (Modrý Efekt; M. Efekt) Jazz Rock/Fusion

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

3 stars Formed in the late 60s in what was the former Czechoslavakia which was very much behind the Iron Curtain and musically speaking a million miles away, yet certain bands not only kept up with the times with underground bootleg albums but also managed to weather the political storms and emerge as one of the most successful bands of the era from Eastern European nations. MODRY EFEKT (in the Czech language) or BLUE EFFECT (but have also gone by M. EFEKT, MODRý EFEKT and THE SPECIAL BLUE EFFECT) formed in Prague (now the Czech Republic) in 1968 and led by vocalist and guitarist Radim Hladík who would remain the constant member in the band's initial two decade plus run. While soon becoming one of Czechoslavakia's major jazz-fusion and progressive rock bands of the ages.

MEDITACE is a fine mix of Czech language 60s type sounding music primarily based in blues rock not unlike early Led Zeppelin but even at this stage they were showing traces of progressive rock as they were recording this in 1969 with many track including the opener "Paměť lásky" showing less influence from blues and rock and more Western classical elements dominating whether it include choral vocal arrangements, symphonic atmospheres or instrumentation. MODRY EFEKT were masters at creating strong catchy pop rock hooks even at this early stage in their development and although there is no progressive touches of the jazz-fusion type, tracks like "Blue Efect Street" show extremely strong ear worms with bluesy guitar workouts and clever arrangements including the use of a sitar. Most of all MODRY EFEKT demonstrate how beautiful rock music can sound in their native Slavic language tongue although side two was recorded in English which proves that the band had their sites on cracking into the international market from the beginning.

While MEDITACE is laced with excellent rock and pop tracks for their time and place, what's really lacking at this point is a sense of cohesiveness for an album style as the tracks flounder back and forth from blues rock to classically symphonic and then to folky with almost Motown type walls of sound and then back to more Western generic sounding blues rock. Overall not a bad debut at all especially for being in a region of the world that controlled every aspect of artistic integrity however it would take the soon to be released second album with their country's other progressive rock giants Jazz Q to steer the band into the more familiar jazz oriented progressive rock that they would stick with for the rest of their days. While i wouldn't call this debut essential by any means, it certainly shouldn't be skipped over either. It is quite the pleasant listen if not polished into perfection.

3.5 rounded down

 Svět Hledačů by BLUE EFFECT (MODRÝ EFEKT; M. EFEKT) album cover Studio Album, 1979
4.31 | 115 ratings

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Svět Hledačů
Blue Effect (Modrý Efekt; M. Efekt) Jazz Rock/Fusion

Review by maryes

5 stars How I've said in my 2 previous reviews about MODRY EFFEKT albums, while "Modry Effekt & Radim Hladik" is more fit in Prog Fusion category and "Svetanie' shows a more symphonic progressive rock approaching, "Svet Hiedacu" is their album more close of a Heavy-Prog style. In spite track 2 "Hledám své vlastní já" is totally played in keyboards, the album is full of incridible heavy guitars riffs ( or something like this), starting at the first track "Za krokem zen" which a very interesting guitar " flanger effect phrase" which appears for the first time in the track about 1 min 10 sec and returns in other moments ( one of the most detachable moments of whole album) but not only. Another of this moments be in track 3 "Rajky" is a passage in "Fugue" style in their initial part starting 1 min 19 secs played by guitar and keyboards ( simulating a bass / guitar duet ), In track 4 "Zmoudrení babím létem" the overture is fantastic and the middle section brings a beautiful ballad whitt electric and acoustic guitars with a "sumptuous" mellotron accompaniment. The last track shows a almost melancholic main theme with a intermission with guitar/keyboard/drums "explosive" space-rock part and return to the main theme with incredible vocals. In my humble opinion ( like "Svietanie" ) a perfect album . My rate is obviously 5 stars !!!!
 Svitanie by BLUE EFFECT (MODRÝ EFEKT; M. EFEKT) album cover Studio Album, 1977
4.28 | 129 ratings

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Svitanie
Blue Effect (Modrý Efekt; M. Efekt) Jazz Rock/Fusion

Review by Warthur
Prog Reviewer

4 stars The peak period of Blue Effect's career saw them wavering somewhere in the hazy border region between progressive rock and jazz fusion; on Svitanie, they seem deeper in more traditional prog rock territory than on either the preceding album (Benefit of Radim Hladik) or succeeding album (Svet Hledacu). Working in an instrumental prog territory that borders fellow Euro-prog workhorses like SBB or Finch, with perhaps some touches of Yes or Camel here and there, the album mostly consists of a series of traded solos between Radim Hladík on guitar and Oldřich Veselý on keyboards, the duo driving each other to further creative heights.
 A Benefit Of Radim Hladík [Aka: Modrý Efekt & Radim Hladík] by BLUE EFFECT (MODRÝ EFEKT; M. EFEKT) album cover Studio Album, 1974
4.30 | 137 ratings

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A Benefit Of Radim Hladík [Aka: Modrý Efekt & Radim Hladík]
Blue Effect (Modrý Efekt; M. Efekt) Jazz Rock/Fusion

Review by Warthur
Prog Reviewer

4 stars Just as Yes were spending 1974 exploring fusion sounds using their symphonic rock chops as a foundation, Blue Effect were approaching Camel-styled symphonic rock from a fusion direction. This album comes in two editions "A Benefit of Radim Hladik" for the export market, and "Modrý Efekt & Radim Hladík" for the domestic market in Czechoslovakia, but there's no real difference in the music you get - save that the domestic version has some nice surreal cover art, whereas the international version just looks awfully tacky, with an earnest attempt to make Radim Hladik look like a rock god rather failing.

What you get in either package is some excellent, slightly spacey progressive rock played by skilled jazz fusion artists; it's clear that in either edition Radim Hladik was being pushed as the band leader, but in fact the whole group turns in some excellent performances. For the most part instrumental save for some ethereal wailing here and there, this album didn't just benefit Radim Hladik, but the whole art rock scene.

 Svitanie by BLUE EFFECT (MODRÝ EFEKT; M. EFEKT) album cover Studio Album, 1977
4.28 | 129 ratings

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Svitanie
Blue Effect (Modrý Efekt; M. Efekt) Jazz Rock/Fusion

Review by maryes

5 stars Between the four albums from M Effekt that I have (Hadin Hladik & M Effekt, Svietanie, Svet Hledacu and 33) I think this one is superior by the others, even in relation to Svet Hledacu, another fantastic album. The inclusion in their line up of Fedor Freso(Bass guitar) and Oldrich Vesel' (Keyboards Vocals) contributes for a more symphonic progressive rock approaching in detriment of jazzy vein presents in their previous album... This affirmation is notable soon at the first track "Vysok' stolicka, dlh' popol" starting with a fantastic keyboard introduction follow by a "broken" guitar/drums/bass sequence and a majestic and simple hammond chords making a sumptuous overture from a incredible chain of musical "landscapes" in a very complex composition, I can't detach any passage in special, but, one beautiful moment starts around 4 min 25 sec with a pedal volume guitar with a bass guitar making a counterpoint, this track are full of retakes of previous themes 'crowning" a perfect arrangement .The track 2 "Ej, pad', pad' rosenka " is one of more beautiful ballads ( with a great guitar solo). The track 3 "V sobotu popoludn'" is more close of jazz-rock and shows a passage (starting 2 min 08 sec.) with a certain Gentle Giant "flavor". In Track 4 "Svitanie" is a mix of psych- prog/hard rock and blues... simply brilliant ! The Bonus track "Gollem" is a heavy-prog with a melancholic end. In my opinion this album is essential in any prog collection !!!
 Svitanie by BLUE EFFECT (MODRÝ EFEKT; M. EFEKT) album cover Studio Album, 1977
4.28 | 129 ratings

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Svitanie
Blue Effect (Modrý Efekt; M. Efekt) Jazz Rock/Fusion

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars Comprised of four pieces of grandly symphonic, occasionally complex, predominantly vocal free and endlessly melodic prog rock ranging between four and nineteen minutes, `Svitanie' is a (mostly) instrumental prog fans dream come true. Hailing from Czechoslovakia, Blue Effect/Modry Efekt, calling themselves simply M Efekt by the time this sixth album came around in 1977, rarely fall back on inane padded jamming, instead moving through a range of carefully composed and varied musical passages. Think of a more restrained Finch that doesn't mind the odd ambient break, or alternatively a harder rocking version of Focus without the classical bombast driven by fiery and ragged Steve Howe (Yes) flavoured electric guitar runs. Elements of funk and jazz/fusion also show up, frequently brought to life by tons of Hammond, Mellotron and Fender Rhodes flourishes.

Many sections of ten minute opener `Vysoka...' is fuelled by both Radim Hladik's urgent, almost manic electric guitar runs and Oldrich Vesely's regal church organ pomp, bristling Mellotron veils and electric piano prettiness. This confident and tasteful piece is loaded with memorable themes, a range of tempos and moods with stop-start blasts of power, and even a few brief whimsical and light-footed moments remind of Gentle Giant and Fruupp, and Vlado Cech's drumming is like a ferocious storm that takes hold of your attention. `El, Pada...' is a drifting organ lament, with plenty of stirring and highly emotional electric guitar soloing throughout and a short dignified raspy vocal. `V Sobotu...' is a quick fusion by way of ELP-styled instrumental, with super thick Hammond organ, wild thunderstorm drumming and Fedor Freso's punishing reverberating bass around quirky electronics and some wailing electric guitar noise.

Lots of build and slowly unwinding atmosphere in the side long title track. Eerie droning ambient electronics, rising cymbal tension and sustained Hammond mystery ebbs and flows against the listener likes waves on a beach shore. After a brief vocal passage, the piece lurches to life with some dirty swaggering treated bluesy electric guitar soloing, reminding of both Krokodil's `An Invisible World Revealed' and some Man albums. The bass rumbles like a damn earthquake erupting inside your speakers, the piece twists with frenetic noisy Hammond spirals, nimble jazzy electric guitar licks and a powerful climax.

Without a doubt, M. Efekt's `Svitanie' is truly sumptuous symphonic frequently instrumental brilliance, and fans of Finch's `Glory of the Inner Force', Focus' `Focus III', the Sebastian Hardie albums and maybe Schicke Fuhrs and Frohling's `Symphonic Pictures' should track this one down right away. It's also now available in a limited double CD package along with Gattch's breezy and easy to enjoy self titled work from 1972, so there's no better excuse to rediscover this gem, and learn to quickly treasure it.

Four and a half stars.

(thanks to fellow Prog Archives member Sagi for insisting I keep at this one, it's proven to be a wonderful addition to my collection that I can't get enough of!)

 Nová Syntéza 2 [Aka: New Synthesis 2] by BLUE EFFECT (MODRÝ EFEKT; M. EFEKT) album cover Studio Album, 1974
3.69 | 58 ratings

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Nová Syntéza 2 [Aka: New Synthesis 2]
Blue Effect (Modrý Efekt; M. Efekt) Jazz Rock/Fusion

Review by apps79
Special Collaborator Honorary Collaborator

3 stars During the summer of 1971 Modry Efekt entered the Polish grounds for the forth time and had series of succesful live performances.Come 1972 and Kozel leaves the band, replaced by one Josef Kustka, with whom Semelka played in the group The Cardinals.Later in the year they visited Helsinki, playing with Ten Years After and Omega, eventually being praised by the local press.Germany and the Amiga Studios was the band's next territory to visit in early 73', filming four of their songs, while during the summer they recorded the sequel album of ''Nova synteza'', featuring again the performance of the Czechoslovakian Jazz Orchestra.The album, named ''Nova synteza 2'', was released the next year on the Panton label.

Now this is Modry Efekt starring at the top of their talent.A nice and warm sound from 1971 had developed into a beautiful Prog/Jazz Opera two years later, containing different elements in a highly progressive amalgam.The 22-min. title-track is of course the absolute highlight of the album, featuring some majestic, grandiose and cinematic moments.Excellent performance by the brass section, accompanied by the great guitar work of Radim Hladik, who's style starts from jazzy flavors and ends up in Heavy/Psych riffs and runs.The track features also some nice piano themes and organ washes, as well as Semelka's rough vocals and nice, haunting choirs.It's mostly instrumental, full of proggy experiments and drawing influences from Jazz, Classical, Soul and Rock Music.Very good epic to say the least.''Je tteba obout boty a pak dlouho jit'', which opens the flipside, is more of the same, proggy Jazz Rock with a monumental brass orchestra, Hladik's in one of his best jazzy solos ever and some very dramatic instrumental parts, featuring some nervous synths at the end.A mix of commercial flavors and complex arrangements, pretty convincing as a whole.The short ''Kliste'' is a good, dramatic piece with orchestral keyboards, brass instruments and piano and focusing on Semelka's crying vocals, while the 7-min. closer ''Jedenacteho rijna'' is decent but not great, featuring some more Heavy/Psychedelic guitar jams by Hladik, a rather romantic middle part and endless trumpet interventions, but with less compact songwriting.

At this point Modry Efekt seems like red wine.The older, the better.''Nova synteza 2'' is a fine gem of jazzy Progressive Rock, where the brass instruments are used for serious reasons and the combination of harder, electric moments with cinematic sounds works pretty nice.Strongly recommended...3.5 stars.

 33 by BLUE EFFECT (MODRÝ EFEKT; M. EFEKT) album cover Studio Album, 1981
4.10 | 89 ratings

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33
Blue Effect (Modrý Efekt; M. Efekt) Jazz Rock/Fusion

Review by TKristyna

5 stars Such an outstanding album.

I fell in love with this album, I really did. It became a matter of my heart after few listens. Enjoyed the power of Blue Effect's debut album Meditace, which was sung by not less famous and respected Czechoslovakian artist Vladimír Misí­k, I also enjoyed Blue Effect's jazzy big band experiments on a record Nová syntéza, but there's something more in their prog-rock side (really not the dark one) of repertoire. I feel something very special there.

The prog era of Blue Effect starts with Modrý Efekt & Radim Hladík. This album was apparently inspired by Yes, Camel and Caravan, although it's an instrumental opus (the strict hand of 'normalization' didn't allow these guys to record it with original lyrics). The next one, which is called Svitanie, had one of the most sucessful compositions of whole Blue Effect's career. A song named 'Ej padá, padá rosenka' is still played on every single gig these days. Svět hledačů was unarguably an artistic peak of this band... But then 33 saw the light of the world. Very emotional album, full of natural moods and colorful themes.

It's a pleasure to listen to such a beatiful album like 33. Radim Hladík, Lesek Semelka and Vlado Čech did amazing work, which is obvious after few minutes of the title song 'Třiatřicet' ('Thirty-Three' in English). Semelka's vocal is very expressive and full of emotions. Songs on this album appeal on human soul and go straight to the heart, which is very impressive. My personal favourite composition is 'Avignonské slečny z Prahy'. I absolutely love the poetic lyrics from Pavel Vrba. He is true genius in his work. 'Avignonské slečny z Prahy' has unbelievably melodic chorus, that you can't only listen - you got to sing it along with Lesek Semelka till the end. Very impressive connection between complex prog instrumental parts and straightforward (not only vocal) lines. This is what I call art rock.

Exceptional. Perfect for sleepless nights.

 Svět Hledačů by BLUE EFFECT (MODRÝ EFEKT; M. EFEKT) album cover Studio Album, 1979
4.31 | 115 ratings

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Svět Hledačů
Blue Effect (Modrý Efekt; M. Efekt) Jazz Rock/Fusion

Review by Warthur
Prog Reviewer

4 stars Blue Effect (as I prefer to think of Modry Efekt, seeing how that's what the band wanted to call themselves until the Czechoslovakian authorities took exception to what they saw as undue capitalist influences) play an intriguing style of mellow, jazzy progressive rock on Svět Hledačů. With not just one but two band members (Lesek Semelka and Oldřich Veselý) on keyboards, the band are able to generate a shimmering, synth-drenched soundscape as a backing for the adept guitar playing of Radim Hladík. Working from a hybrid of King Crimson, the jazzier end of Canterbury, and perhaps the most experimental portions of Relayer-period Yes, the Blue Effect is a very fine effect indeed.
Thanks to ProgLucky for the artist addition. and to NotAProghead for the last updates

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