YEZDA URFA

Where do I begin with this one? As most of the reviewers before me have made quite clear, the sound is far too complex to be described in just a few sentences. The closest thing I could compare the instrumentation to is Gentle Giant, but this goes beyond even their style in terms of complexity. The songs are full of wonderful changes and incredible moments that reflect quite clearly the many facets of eclectic prog (at one point I could swear it sounded just like the theme to "The Three Stooges"). And as if it weren't enough to pack as many changes as they did into each song, they seemed to go that extra mile and added all manner of math to any passages that seemed "easier" than the others, giving the listener a nice surprise every few seconds. This may sound off-putting when I write it, but rest assured, the songs are as melodic and beautiful as they are complex and bizarre. The sound seems to be derived from various other progressive bands of that era, with piercing mellotron sounding uncannily like Keith Emerson's, instrumental passages reminiscent of Yes, Gentle Giant, or possibly Genesis (this album includes the short instrumental "Texas Armadillo", which reminds me quite a bit of Yes' The Clap), and bits of seemingly improvised flute, sounding quite a lot like Ian Anderson's. Though the sound seems inspired by many other, more well-known bands, it is anything but derivative, and carries its own peculiar charm. I give this one five stars, a paragon of eclectic prog.

If YU debut album attracted by it's freshness and sometimes by freaky beauty, this, second work missed of both. Better organised, but openly Yes oriented ( even in vocal) album, still sounds pretty well. But when listening, I just catch myself on collecting separate their music pieces and trying to expect, where from it was borrowed. Yes, Gentle Giant for sure, plus more Kansas-like places as well.

I can't say this album is bad,no, but just it isn't original enough to be really attractive. You will listen it as great tribute band, and even will notice ,that musicians are skilled enough to put some personal grains into music. But it will be difficult just to accept it as original music, that is a problem.

Anyway, even if not as interesting, as their debut, I believe that this album could be interesting for listeners, searching on Yes-like music.

I never heard about this band and for a first time found this name on PA only. So, one day I decided just to listen it ( mostly because of high position in PA Top and good reviews).

I wasn't disappointed. The music is really interesting and quite unusual. First of all, even if they are using many of symphonic prog elements, they still are too eclectic to be classified as symphonic rock band ( what is a big plus in my eyes). Second, they mixed many different elements in their music, so the result is never boring.

For me, they sound as proto symphonic ( it is still not overproduced, without heavy keyboards arrangements, still having the freshness and acoustic soul of rock) based band with folk, Americana and heavy prog elements. Some moments even are jazzy enough! The are very melodic ( some pieces sound as early RPI), almost folk-pop melodic, I can say. But musicianship all is complex and very progressive."Texas Armadillo" is absolutely out of place bluegrass/Americana song, but even it doesn't sound bad in their mixture.

No way masterpiece, this album is really interesting listening - symphonic prog based album for fans, who doesn't like symphonic rock too much!

For several years I avoided any YEZDA URFA album, because most of what I heard about them is that they formed a YES clone band with GENTLE GIANT structures, interesting as it may sound for many, I'm not a fan of GENTLE GIANT and find Jon Anderson's vocals annoying to an extreme, but last week I bought a cheap copy of "Sacred Baboon" and honestly don't plan getting their debut album.

Not that they are bad, on the contrary, they are good (not great), but originality is not a word in their dictionary, the vocalist Rick Rodenbaugh tries with all his strength to sound like Jon Anderson and he partially achieves success, because sounds very close but Jon is original and charismatic, this guy not.

The vocal works are complex and elaborate,. but sound as a "B" class GENTLE GIANT, they abuse of the dissonances but aren't able to capture the unique Medieval - troubadouresque atmosphere (in most of the parts), which was the most interesting feature of Derek Shulman and company, in what GG was unique, this guys are bellow average.

The album starts with the interesting "Give 'Em Some Rawhide Chewies" intro, which gives the impression of a Medieval track, but it's a mirage, then the band looses the path and never retakes it, start playing in the vein of YES but suddenly change into the vocal style of GENTLE GIANT to go back to YES, simply unimaginative and boring.

"Cancer of the Band" starts with a soft and contradictory flute section, a hybrid between Medieval and cheesy, but when they are capturing the essence Medieval Folk music, they add a dissonant guitar that sounds empty, despite their later efforts, the band is not able to retake the sound they started with.

"Tota in the Moya" is quite funny, sounds like "In a Glass House" with hits of "Relayer" (To be Over), touches of "Tubular Bells" (The mandolin) and Rick Wakeman's musical jokes.......The big question is ...Where can I find something that sounds like YEZDA URFA, sadly the answer is nowhere. People describe this track as an epic I believe it's a long song with patches of different bands.

When I believed it was enough of cloning bands, comes "Boris and His Three Verses" that sounds like "Tormato" with Medieval hints, but the band fails creating a convincing atmosphere, floating in the middle of two bands who play in a contradictory style, thanks God it only lasts less than 3 minutes.

"Flow Guides Aren't My Bag" could be the only song that sounds remotely original, until those keyboards taken from "The Advent of Panurge" brings us back to reality, but at least some attempts of creating an own sound.

"(My Doc Told Me I Had) Doggie Head" starts Jazzy with few references to any band, even the dissonant sections sound original, but as soon as Rick Rodenbaugh adds his vocals, sounds like Jon Anderson singing in the style of Derek Schulman, no more commentaries.

Just when I was going to stop listening "Sacred Baboon"comes "3, Almost 4, 6, Yea", an excellent track with complex but melodic arrangements, the drumming is outstanding and the bass is completely accurate, fast, vibrant and at last original, the acoustic middle section is delightful and the ending is brilliant (The lack of vocals helps a lot).................If only this guys had realized before they can write outstanding music, the story would had been different.

Now I understand why their material was only released 12 years after it's recording, because almost everything YEZDA URFA played was done before by more famous bands and better.

Because of the obvious musical skills of the band members and the last track, I will rate this album with 2 stars, because I was tempted to give them only one, something that pisses me because they are all outstanding musicians

God what a band. After years of prog hunting it's not often the cynical and jaded fan comes across a true masterpiece they hadn't already heard. But that's exactly what Sacred Baboon will be for many. And though magnificent, Yezda Urfa (a name taken from regions in Iran[Yazd] and Turkey) was not as tight as Yes, precious as Genesis, bold as Crimson or cool as Tull. They were just one of the finest American prog bands ever and this 1976 recording - a proper session made after the Boris demo - is so full of consistently high-quality material, it's hard to fully digest at times. Other than the easy Gentle Giant comparisons, the closest thing to these five ingenious madmen would be S.F. avant-garders Cartoon, though technically YU out-do even them.

The silly song titles belie a fantastically intricate and demanding paradigm of whimsy and obsessive brilliance, as on 'Give em Some Rawhide Chewies' and 'Cancer of the Band' with the group's vocal rounds negotiated flawlessly by lead singer Rick Rodenbaugh, keyboardist Phil Kimbrough, bassist Marc Miller who also handles cello and Vibes, and Mark Tippins on guitar. 10-minute 'To-Ta in the Moya' and the two cuts that follow will be familiar to fans of the Boris re-release [also Syn-phonic, thanks for a great production Greg!], will remind of Yes's more adventurous periods and features mind-bending key changes, modulations and rearrangements. Really cool track.

Pop music this is not and I don't wonder they were completely missed in their time, or any time for that matter. I mean, what were these guys?; Avant garde? A hippie art band? Tragically misunderstood or indulgent crap? No, just progressive rock at its best and most troublesome. 'Flow Guides Aren't My Bag' proves it with calamitous playing between drummer Brad Christoff & bassist Miller, Tippins' sure acoustic ax, and an urgent, popping arrangement by Kimbrough. Split personalties of brilliantly mad '(My Doc Told Me I Had)Doggie Head' and '3,Almost 4,6,Yeah' closes the show.

That bands like this actually existed at one time - on the planet we currently reside - is enough to add this glory of glories to your prog collection. Even if you hate it you'll love it.

Boris: the definition of Eclectic Prog.

The best way to describe the music of this obscure American band is as follows: The intriquit technical qualities, and blazing speed all taken from Gentle Giant, put together with King Crimson's (Larks' Tongues in Aspic) song structure. Now if you take that unique mixture, and saturate it by adding the lush melodies and feel of the best Italian Symphonic rock, you have Boris, by Yezda Urfa.

There is not a weak track to be associated with Yezda Urfa on this album. From the moment it starts to it's explosive end, the music keeps you at the edge of your seat, keeps you holding on so you aren't swept away from the sheer power of it all. The music also has a certain uplifting quality to it; the melodies are bright, the vocals warm, and there is just an overall sensation that the musicians had an absolute blast in the studio with this one.

If we were to decompose the music itself, and analyze each component separately, we would see that Boris is a lot more complex than he is made out to be on the lovely album art. The first thing you would notice are the beautiful, yet strange, harmonies that fill Boris with life and soul. Next you would notice the thumping bass that caries the music at its relentless pace. The bass style is in the vein of Renaissance's Jon Camp, with a clean tone, always thumping, always melodic; the brawn of Boris. The drumming comes next; which at times reminds me of some Bruford drumming during his time in Crimson. Fast, complex, ever changing beats; the drums are the true structure, the bones of our friend Boris. Boris' next feature, the flute is the most dynamic instrument on this album. Sometimes the flute making you think of a pretty spring meadow, with pretty and soothing playing... then suddenly, the flute will explode into aggressive fits of anger, dominating all in its path, as if it were the temper of our good friend Boris. Now for the two most important factors of the music: The omnipresent guitars and keyboards. These two instruments are the flesh of Boris, allowing him move and flow. At times these two instruments will be peacefully following along with the melody in the background, content as can be...but they are building up pressure, frequently exploding , as if they were geysers, into beautiful and complex guitar riffs, or synth flights.

Boris is a masterpiece of American music, that does not get its deserved recognition, as many have said before me. If you read this review, and feel tired of the music you have been listening to, Boris is calling your name. Fresh, unique, powerful, beautiful, fast, funny, uplifting; Traits of an album you should have in your possession.

Completely unbelievable.

This band is a UFO amongst all oddities in the prog world. What kind of imagination does it takes to write this kind of stuff? It goes from A-Z in the same song MANY times, which means it's 75 songs ideas crammed in one record of 7 songs. And the musicianship is probably one of the fastest, most skilled I've ever ecountered (a blend of Gryphon, Yes and Gentle Giant); which means they pound their instruments like blacksmiths on a poor anvil.

Take a perfect Jon Anderson clone and grow him a thick beard and dress him medieval. Good. Then, give him a lot of stimulants and some woodwinds. Okay. Finally, make him write lyrics after depriving him from 72 hours of sleep.

Absolute masterpiece of strangeness.

Who needs drugs with that kind of music?

Humbly, this has to be by a long shot the sickest UFO of all my collection; but at the same time, the Yes and Harmonium reminders (vocals, guitars, bass and keyboards..well,er..everything finallly) are putting us in some known ground. I founded out that this is a demo that was supposed to be send to record companies. The company guys must've let it slip because this somewhat rough recording is mind- boggling! Of all the obscure bands that made the cut: Neuwastein, Locanda Della Fate, England and such: they get gold medal!

Their aptitude to create (very) complex songs is beyond my comprehension, and to give you an idea, it gives Gryphon some serious competition (and to me, they squash'em bad). In all my years of listening music, nobody ever tried as hard as Gryphon to catapultate such density in a record; well Yezda Urfa is giving a lesson to all those who think they're all that....this is how it's made!

Completely crazy lyrically (read LSD) , this is an outsider amongst the outsiders, the ultimate, obscurest band I've known. Amateurs of hidden-in-your-uncles's-basement-in-a-dusty-pile-of-old-crap-records, you'll find a real diamond.

I will not listen to it often, truly disturbing.

I simply cannot believe that this album is in a better position than lots of more important and better albums, but this is, still, a very good and decent material that sadly remained unreleased (or released with few copies) for 29 years

You know, Yezda Urfa is one of many bands that i discovered through Prog Archives that i would probably never find another way. I mean, the band has a highly unusual name, is not very commonly discussed in any prog forum, does not have important or influential albums, it's not exactly a mainstream band (even by prog rock standards) and it is an american band (no offense, but the american prog scene back in the 70's is not my cup of tea).

So, when i saw that this album is better rated than lots of albums that i LOVE, like Lark's Tongues, Free Hand, Octopus, Acquiring the Taste, Power and Glory, Anabelas, Lizard, Power to Believe and many others in the eclectic genre alone, i thought that it would be a true mind blowing experience. And it was, at least until the title track, Boris, was playing. Boris is a wonderful song and it is surely the best song of this terrific album, but the band somehow was not able to keep up with the same quality all the way through, and though Three Tons Of Fresh Thyroid Glands is also an amazing song, Boris exceeds it by far.

Please don't get me wrong, the album is fantastic! I just think it does not keeps up to such a high grade. The only issue i i think this album has is with the bonus song The Basis of Dubenglazy While Dirk Does the Dance, which has too much background hiss (probably bad master tape or bad recording equipment or both).

About the songs, musicianship and other features, there are somethings i would like to state:

Well, this album have some very good music indeed and though it fits quite well in the eclectic sub-genre, mainly because of the songs structures, their music is not so challenging or difficult to be fully appreciated as King Crimson, Gentle Giant and Van der Graff Generator, probably because Yezda Urfa's music is more direct or have less experimentalism and dissonances as the previously said bands. Yezda Urfa's music is also less challenging to be played then most of the songs from the said bands, but it is still not an easy task to play them.

Although the whole albums is great, there are two songs that i think deserve to be highlighted: Boris and Three Tons Of Fresh Thyroid Glands, being Boris the best album song and Three Tons Of Fresh Thyroid Glands the second best.

Grade and Final Thoughts

Boris is a great release, but i think that it simply does not deserves the masterpiece grade because it is not as good, so the 4 stars grade is more fitting and does better justice to the album true valor. However, it must be pointed out that it is remarkable that with such record they could not find any label to release their stuff: how could so many labels simply discard such a good albums is really unbelievable. That truly shows that the music industry is not interested if it's good, but if it sales, no matter how much it sucks.

A real shame that they could not get any recognition at their time and were forced to stop doing something they loved and had talent to do.

I don't think i would be out of line in saying that this band was one of the best,if not the best to ever come out of the U.S.A. All you have to do is read the other enthusiastic reviews to know that you need to hear this band.Incredibly complex,yet melodic at the same time.These guys wrote intelligent lyrics and they certainly had a sense of humour(look at the song titles). "Boris And His 3 Verses,Including Flow Guides Aren't My Bag" opens with dual vocals,the one vocalist sounds so much like Jon Anderson.The sound builds as drums,guitar and synths come in.Check out the drumming after 2 minutes.A change 3 minutes in as it turns dark.Man these guys can play!This is such a great instrumental section.Nice heavy guitar with lots of synths after 5 1/2 minutes.This passage ends before 7 1/2 minutes.It then becomes mostly acoustic with vocals for a minute.It ends in an uplifting way with vocal melodies then vocals. "Texas Armadillo" is a short instrumental with banjo!You have to hear the way this thing builds to such a fast pace.Amazing! "Almost 4,6 Yea" opens with piano before being replaced by a darker,heavier section.The guitar is outstanding.It then becomes very complex.Flute after 2 1/2 minutes.A calm with acoustic guitar before 4 minutes.Vocal melodies a minute later before it turns dark again.The guitar in the next passage reminds me of the guitar on "Houses Of the Holy",this section ends 8 minutes in.Some nice drumming follows to end it. "To-Ta In The Moya" opens with a full sound that is quickly replaced by a laid back passage, with vocals arriving 1 1/2 minutes in.A terrific sound follows.It sounds like Howe on the guitar 4 minutes in.It's darker a minute later.The song continues to change as a fun section comes in around 6 1/2 minutes.Vocals return before 8 minutes to end it. "Three Tons Of fresh Thyroid Glands" yummy.I like the way they use the flute in the intro.A change 1 1/2 minutes in as guitar and drums take the lead.Nice. The flute is back! There's that "Houses Of The Holy" sounding guitar again.Vocals before 5 1/2 minutes.The tempo and vocals pick up speed 7 1/2 minutes in.It settles down after 9 minutes with flute and a darker sound. Well i do prefer this to "Sacred Baboon", but if you can get your hands on either of these,please don't hesitate.