CZAR

Many bands had a moment in the sun, a period, album, popular song or even just a few passages notable to fans. Some of these innovations may even have been imitated by other, greater musicians in their rise to the top. Flattering but of little consolation to the struggling group, ignored by the very people in charge of promoting them, a band destined to be forgotten until decades later when their painfully rare LP is proclaimed to be 'collectible'. All of these things are true of Czar, a perfectly innocent and capable heavy art band that released this one and only seven-cut record in 1970. That is not to say they would have flourished otherwise. The band was very good, but not great. The fact is that with organ-grinder Bob Hodges liberal use of mellotron, Derrick Gough's tough drumming, Mick Ware's soulful and slightly off guitar and the iron-heavy bass of Paul Kendrick, what you got was an excellent try at progressive rock during a free-minded but difficult time to be a professional musician. Consequently it is a perfect if ignorable slice of what was happening during that exciting period in English underground rock.

Things start promisingly with a neat 'tron phrase from Hodges for 'Tread Softly On My Dreams' and a decent vocal arrangement from the band though the song begins to lose air quickly. Things brighten for the Eastern flavored 'Cecilia' with more mellotron, organ and harpsichord. Slight tells of King Crimson but really more of a Who-minded energy here, with a weakness for the scurl of a Hammond and ragged acid blues. 'Follow Me' maintains the energy, though just as they seem perched to explode with something great they pull back, tack-on something formulaic and add flat vocals to what could have been quite nice, and the sleepy 'Dawning of a New Day' doesn't help. What must have been fairly modern-sounding 'Beyond the Moon' is an interesting bit, the eerily John Lennon-like 'Today' turns into one of the best cuts on the record and had hit potential, and they saved the best for last on 'A Day in September' with faint Nice-isms and a fun arrangement.

Quite interesting, and of historical merit. The 2007 reissue has eight bonus tracks of variable interest [two cuts from the single and six demos] and a good booklet with photos.

For anyone who is interested Mike Ware lead guitar with Czar was also in legendary bands such as Tuesday's Children in the sixties along with Phil Cordell (Springwater, Dan the Banjo Man) and after Czar kind of split he joined a later version of Consortium (ex West Coast Consortium), he also recorded with a band called Sisters (help the music on its way) whilst still playing and touring right up to 1979 with Consortium. If you like his guitar sound on the Czar album his follow on band Consortium have just had an CD album released with Angel Air records which was first recorded in 1975 called simply 'Consortium - Rebirth'. For the record he still loves to kick it with his guitar x For obvious reasons I love the Czar stuff and it is hoped that some of their unreleased tracks (which were really their stage numbers) will be released shortly to show their true worth to the music scene of the time.

One of many groups from the very start of psychedelic and progressive era that soon disappeared after releasing one album under its name, thus becoming a collectors item. Interesting music, mostly based on rock, which I would not call progressive, but styled (so called art rock). First listening to was pleasant event, but every other spin revealed more distances from progressive music. First song, "Tread softly on my dreams" is unique and most interesting, coupling rock with organ, mellotron and harmony singing. Second song, "Cecelia", at the same time holds some features of the previous song, like mutual vocals and unexpected use of harpsichord, but as it goes, it towards to rock style. Third song is common rock, while forth, "Dawning of a new day" is very good rock ballad. Two last songs from the official part of album are just pop or pop-rock. Two bonus songs are completely different, "Oh Lord I'm getting heavy" is soul, while "Why don't We be a rock'n roll band" doesn't need any explanation, unfortunately the name says it all. Overall, heavy usage of keyboards sound and unusual singing style are just not enough to move this kind of music to higher, progressive level. Some hardly noticed clicks and pops here and there made me think of its vinyl origin.

Gathering together music diversity, historic aspect and collecting value, rated with three stars.

This album is one of the most legendary and expensive (nearly 1000 dollars) of the early British progressive albums and in terms of musical quality this is also about the best that it ever gets. An absolute masterpiece! The group were a quartet of Mick Ware, Del Gough, Bob Hodges, and Paul Kendrick with a heavy emphasis on blasting brainlashing heavy rock/psych guitar pitted against subtle, beautiful melodies. The sound is at times reminiscent of both Crimson and Zeppelin, but with psychedelic late 60s touches too. Arguably, this is a more solid and mature album than Spring even with better playing, better songs, better arrangements. The 7 tracks on the album all have a special little twist to them that makes each song special. The vocals are a strong point here- often harmonies and always very melodic. I discovered this album via a bad CD bootleg 10 years ago. Two years ago I bought an original in mint condition for a whopping price- and I say if you want progressive rock at its peak with energy, enthusiasm, skill, and atmosphere this is the best one there is and well worth it! A fantastic album in a great sleeve, Masterpiece sounds about right! Love it!

Another lost band that deserves more attention as their music can be categorized under progressive rock boundary. Well, I got this CD couple months ago altogether with another lost band ODIN, but got no chance to review their album yet. ODIN actually has been featured in this site long time ago but I just found CZAR last night. Thanks to Max and the Admin Group of Progarchives that have made it featured in this website!

CZAR music is I think a blend of Procol Harum, The Beatles and Pink Floyd (Syd Barrett era) or I would simply say it's a psychedelic prog rock. In terms of structure, their music is quite straight forward like typical rock music structure. Melody-wise there are some similarities with classic band at their generation (late sixties and seventies). The composition comprises the use of keyboard / mellotrons / organs that represent the tradition of early prog music. Even though the sonic quality is not top notch, but it's still quite OK with my ears. Even this kind of sound has its unique nuance to indicate the early prog era. Overall, CZAR music is accessible to most listeners. For those who followed the early inception of prog music in the rock music industry in the seventies, this is an excellent addition to any prog collection, I would say.

The band's line-up consist of : Del Gough (drums); Bob Hodges (piano, mellotron, organ, harpsicord, vocals) , Paul Kendrick (bass, vocals) and Mick Ware (guitar, vocals ). You may not be familiar with any musician in this band. Probably they are no longer a musician nowadays.

Let's have look in great detail .

"Tread Softly on My Dreams" opens the album with an intro part that is 99.99% similar (or I can say it "the same") with Procol Harum's "Homburg". Well, it's unclear to me which came first as I learned from my discussion with progheads that actually Procol Harum did not also make the melody by their own and this "Homburg" was heavily influenced (or probably "adopted") from a classical music. I do not know about it yet as I'm not an explorer of true classical music. But it only happens at the intro part and some repetition in the middle of this track. Overall this is a good track.

"Cecelia" flows in the vein of psychedelic with heavy use of organ throughout the tune. This organ has mainly characterized this song - or even all CZAR music is heavily characterized by the sound of organ. The music flows relatively flat and simple with some accentuation of nice and very seventies organ style. The stricture is simple, using duet voice line with some variations or harpsicord sound. The drummer Del Gough has made good contribution. The guitar solo is simple but really stunning especially combined with the rhythm section of this track. It's truly the "seventies music" man!! For those who like psychedelic, you might love this track. It's an excellent track. This track passes the test on duration of any prog tune that by rule of thumbs were defined as 7-8 minute. It's probably a wrong number but that's what happened in the seventies.

"Follow Me" (3:19) is an outfit that very close with the style of Pink Floyd "The Piper ." album. It's completely a psychedelic venture. You can smell an influence of The Beatles and Procol Harum here. This time guitar takes the lead in the rhythm section as well as short melody / solo in transitions or in the middle of the track. Organ is used lightly with soft sound at background or accentuation during transition pieces.

"Dawning of a New Day" starts off with simple guitar fills with organ at background. It's a ballad song with nice acoustic and electric guitars. Melody is relatively nice and it flows with the voice line, accentuated by the electric guitar work. When organ solo enters the scene it really reminds me to the seventies where the sound of Procol Harum was very popular. Solo guitar performed is very simple but it's enjoyable especially when it is combined with a mellotron sound at the background.

"Beyond the Moon" is another simple structure psychedelic tune in the vein of PF "The Piper .". It seems like I'm now enjoying Syd Barrett creation through this track. If you enjoy "The Piper" you will love this track!

"Today" is a mellow track that in a way reminds me to "A Whiter Shades of Pale" at its intro part. The vocal line sings in high register notes and reminds me to Babe Ruth or Pavlov's Dog singers. It's a nice track with guitar plays as rhythm combined with organ.

"A Day in September" is relatively a long track with more prog venture. It starts off with a combination of bassline and organ followed with guitar fills. The music turns into faster tempo with organ sound in crescendo followed by duet vocal line. The track really turns into prog when it enters approx min 3:40 where the organ brings the music into an interlude that demonstrates guitar solo. I really enjoy this interlude. Sometimes, I can smell the sound of The Doors in this track as well.

The original seven tracks made up into 39 minutes duration; and to fill the CD leftover there are two bonus tracks included in the CD package.

"Oh Lord I'm Getting Heavy" is a blues based pop tune with some brass section involved. Organ still plays important role as main rhythm section. "Why Don't We Be a Rock 'n Roll Band" is probably representing the band's yell to be a successful rock band. It's composed in a pop rock vein. It has a good interlude with great guitar solo. The repetition of title lyrics in this tune has made me feel boring. The sonic quality of these two bonus tracks are not good.

Overall Recommendation

For those of you who really want to explore "what was there" in the beginning saga of progressive music, this CD could be your excellent addition to any prog. But overall to give this CD with 4 stars is I think risking me for being "too naïve". Well, comparing what was available in the market during the time this album was released (where King Crimson had released "In The Court .." a year before), I would give a 2 ½ stars rating. [Oh by the way, the CD package is poor, so do not expect that it has great design!] Keep on progging!

Yours progressively,

GW - Indonesia.