ARABESQUE

As Budd Kelly , former vox & keys of Arabesque has explained in his own review of this album, this is a collection of songs from 1974 to 1978. Which explains the variety of styles on this album.

This is sadly the only album from this American band, not to be confused with an Austrian metal band with the same name. The music comes across as a blend of Genesis, Yes, Cathedral, Strawbs and King Crimson. There is even some hints of ELP and the Canterbury scene here. The latter (ie Caravan) comes across on the instrumental bits of the most commercial catchy song on this album; The Farmer Song. A great song which breaks up the symphonic melancholy which ferments the rest of this album.

Although this album is pretty instant pleasing to the ear, I think this probably ages as fine wine. In other words; enjoy it over several decades and never ever let it fade away in the record collection. I have only been listening to it for a couple of months and I am not so sure if I am getting it. The music, as the blend of the great prog masters it is, is very good. I think most symphonic prog rock fans will find it very pleasing and a lost treasure. But maybe not a diamond. The music is very epic, but it does not take me the places I want to go. The music is also very intense and a bit fractioned, this being a compilation album.

Besides of this, this is a good album for those into the above mentioned bands. It really should be a treasure in the same vein as the Cathedral album from the same decade. I think this album is like a bottle of fine wine and it should be stored and listened to carefully over the next decades. I believe both myself and those who heed my advice will get a lot of pleasure from it in the future.

3.75 stars

Seeing as ARABESQUE hail from da' Burgh (Pittsburgh for the lehman) this would be my home town prog band (give or take a 30 miles) and I must say; they don't disappoint. Easily some of the best vocals from an American prog band (a voice with character!) and true to the British well balanced instrumental sound that symphonic prog was built on, this band really had something cooking back in the late 70s. This is not the watered down, more pop friendly, Kansas' style American prog, this is the real deal. It is always a wonder how a band so clearly possessing top-of-the-heap chops can quitely appear and just as quitely disappear without releasing so much as an album during their active years. Either way, I am glad an album was eventually put together as this is a dynamite listening pleasure. The entire project is very alive with excellent composition, musicianship, and vocals with all the character of an English band of the time. This album should also serve as yet another example to the modern prog bands of how to fill an album full of 10+ minute songs without boring anyone. You know you;ve done a fine job when you release a full hours worth of music that seems to fly by like it was half that length and leaves you wanting more. While much different in style this is the best/most-interesting stuff I've heard thus far from an American prog band outside of Zappa (having not yet aquired any Yezda Urfa) and I don't see any way around giving them a 5 star rating, even if it is mostly because we have so little critical breathing room on a 1-5 star rating scale. More of a 4.5-4.7 star album it would be very unfair to round down (and wouldn't make much sense either) so 5 stars it is!

Arabesque is a forgotten band from USA progressive movement from the '70's. The album Tales of power is released in 2002 but containing recordings from 1973 to 1978. When I first listen to this album I was kinda shocked how '70's they sound, didn't know that this pieces are originaly composed in the '70's. After digging in their history I found out that they coudn't manage to put on market the album in first place, and Shroom records trace the album and re released him in 2002. The music Arabesque playes is eleborate symphonic prog with excellent musicianship, long instrumental passages and brilliant interplay between guirat and keys. Over this instrumental arrangements the warm voice of August Smarra make this album worth investigate if you are in this kind of music. Sometimes they remind me of Genesis or Camel but not a copy , they have their own sound. All the pieces stands as good , not a weak moment. So a good album, deserve 3 stars for sure.

This isn't a review, just a note from Budd Kelly , former vox & keys of Arabesque.

Since the release of Tales of Power by Rich Patz at Shroom , I've been really really appreciative of so many kind words about the music. Likewise I enjoy as well , the not so positive stuff too! It's all good, as we all , players and listeners alike, are part of a greater collective, a brotherhood/sisterhood in a great form of expression and communication - it's just great to share the music after so many years. Important to note regarding the recording, is that it's not a studio one. "Tales..." is made up primarily of early basement demos, with music recorded live in stereo (only 2 mics) onto an under-exploited Dokorder 4-track reel-to-reel. Vocals were then overdubbed with myself literally crammed into bassist Tom Ketterer's bedroom closet, clothes and all, with the door slid shut. Of the few other overdubs(BGVs and acoustic piano on the NOVELTY , synth & guitar jungle FX on the POND ) they were also in Tom's room , ac.piano and full band were in the Ketterer's basement. One track, as credited, is Live at Allegheny Community College to 2 track but perhaps is a live mic (2) and direct signal from mixer blend - , that would be Except for Dreaming (aka The Last Remake of Sredni Vashtar) the final version of the first song we ever wrote. Other points of post-Arabesque interest to anyone still curious : In summer of '81 I moved to State College PA and joined local favorites "RED ROSE COTILLION" (see redrosecotillion.com and jamie thompson. net) . We did a final, groovey version of THE FARMER SONG which became an RRC fan favorite. All live recordings from The PHYRST etc..

On a sad note, Arabesque drummer Jim Renda , dearest friend, died suddenly in November of 2005. He was a beloved gentle soul and a great drummer. Deeply missed every day by this arabuddy. More recordings exist and are in the Shroom archives. Three 16-track real studio tunes from 1980 as well as more basement demos. PLUS a huge archive of personal music from 1974-2006 from everybody in the Arabesque lineage: Schizm, Spectra, Jirus, Tuberunity, free-form jams and solo projects.....

I can be reached via Red Rose or Jamie Thompson or temporarily at jmpk@netzero.com THANKS AGAIN for all the kind feedback -- BK.

The craft continues .....

With a ripple of organ appeggios an epic unfolds. And the epic tale is not just that of Krall Mountain, but that of this Arabesque album itself. Recorded over a period of years (from 1973-1979) this decent set of songs remained in the vault for a quarter of a century, only seeing the light of day in 2002. Remarkably Tales Of Power is on par with, and in the odd case, even stronger than, many more acclaimed lost American albums that I've heard.

Lead vocalist Budd Kelly (who is also the keyboardist) has a narrative vocal style that seems clearly influenced by Peter Gabriel, although his vocal timbre is closer to that of Dave Cousins of The Strawbs. Indeed the opening track An Epic - Krall Mountain seems like a multi-dimensional audition for a place in Trespass-era Genesis, with Kelly throwing in a fair bit of Banksian organ. There are also some decent synth moments and a bit of an overly frenzied guitar solo from August Smarra.

Other highpoints include We (The Farmer's Song) which is simply, a great rock song. Sure the sound may not have much depth (remember that this music sat on the shelves for a couple of decades), but the flow of the music and the melodies of keyboards, guitar and lead vocals are excellent. There's also As The Novelty Wears, which is more of a jazz-rock piece with Kelly moving to the electric piano, and the closer Except The Dreaming which has a mock-horror opening (they go through great lengths to create that sterotypical Gothic feel), then a gentle folk passage, and then a high octane jam to conclude it all.

It's not all plain sailing though. Like numerous other 70s symphonic American acts, Arabesque occasionally seem a little overly influenced by Yes. Also some of the songs could have used some editing. The instrumental Cobbler's Knob is definitely overlong. When it starts off with a nice little synth solo, one expects great things. One does not expect to have to listen to a series of mediocre passages for nigh on 11 minutes with scarcely any variation to speak off as keys and guitar alternate lead. Believe me the vibe playing of R.J. Ketterer doesn't add enough ... particularly during the last 6 minutes when a single riff just goes on and on!

Thankfully the other instrumental The Forgotten Pond is better, with a more memorable melody although even at just under 5 minutes, it seems to repeat itself, and indeed starts sounding a bit too much like Cobbler's Knob! Arcanum Of Atlantis is pretty decent and some great synth leads, but by this time, everything is a little too familiar.

Indeed, I must admit that I used to be a little bit more enthusiatic about this record. It's still pretty good, but I would definitely go for the essential Kansas, Utopia, Yezda Urfa, Pavlov's Dog and Cathedral albums before seeking this one out. ... 58% on the MPV scale

Altough I'm a proghead from 1975, I own a large collection and I write many reviews for this site, almost every week I discover progrock gems after reading the reviews on Prog Archives: Marsupilami, Red Sand, Rain, Indian Summer and... Arabesque, what a beautiful Seventies prog! The 7 compositions (most around 10 minutes) have a wonderful typical Seventies symphonic rock sound featuring compelling shifting moods, strong breaks and great soli on guitar and keyboards, fine assorted percussion (like Glockenspiel and temple blocks) and, last but not least, a good singer with a warm and distinctive voice. The music has echoes from early Genesis, Yes, King Crimson and Camel and often reminds me of the other great USA band Babylon (also Genesis-inspired) and some early psychedelic Floyd (Farfisa organ play). Despite this flood of references, Arabesque doesn't sound as a clone and manages to keep my attention for the whole CD, I'm delighted about this discovery!

www.progwalhalla.com

Nice underground progressive rock group from USA that plays a very nice style similar to early Yes and Genesis (musical arrangements, drumming and guitar playing with a folky edge), Finch (the instrumentals are fairly complex with guitar jams and great frenetic drumming and bass work) and Kansas when the guitars add a crunch and heaviness to them. This is mid-American prog with an overall British folk feel. Warm music with complexity. The vocals are also very nice. The singer has a warm voice sounding like a late 60's folk singer more than a prog/rock singer but it really adds to the music not detracts. If you have a huge list of prog albums in your collection and you are looking for another nice addition to it, or are hungry for more classic 70's prog in the Yes/Kansas mode, get this album. You won't be disappointed. You may even be glad you did! 3 3/4 stars!

As a lover of progressive rock, it is always fulfilling when you get your hands on an old album from a band you had never heard of before and love the music... this is most certainly the case with 70's US based band ARABESQUE. This CD is really a collection of their early songs written between 1973 and 1978. Musically ARABESQUE draw musical influences from CAMEL, GENESIS and YES, but I must confess do carry their very own unique sound. Instrumentally these guys also dipped into the progressive rock bag of tricks with the addition of a number of unique toys... glockenspiel, bongos, e-bow, temple blocks and a host of cool analog keyboards (farfisa organ, mini-korg, Rhodes). Their songs are nice and long (all around 10 Mins) and are given lots of room to explore never sounding rushed or pushed.