MANDALABAND

Free Tibet!

This debut album is by far the best of Mandalaband's three albums and (presumably) the sole reason that they are listed as Symphonic Prog. This album is also the only album on which Mandalaband is really a band; on the subsequent two albums they were more of a 'project' led by David Rohl (similar in structure to the Alan Parsons Project). But just like the subsequent two albums, this debut is similarly conceptual or thematic and the theme or concept this first time around was about Tibet.

It was quite hard for me to find this album, but I finally managed to find it on vinyl LP and I transferred it to my computer. I have subsequently tracked down a version of Mandalaband II on CD which contains the four-movement suite Om Mani Padme Hum as a bonus track. On the vinyl album this largely instrumental epic named after a Buddhist mantra and with occasional vocals in an unknown (to me) language takes up the first half while the second half is left to shorter and more direct songs sung in English. The sound of this album is quite unique, but bands and artists such as Focus (think Hamburger Concerto), Mike Oldfield, Caravan, Yes, Emerson Lake & Palmer and Beggar's Opera readily come to mind. While none of these references are quite able to fully capture the multifaceted nature of Mandalaband, this album will appeal to fans of classic Symphonic Prog.

After the rather gentle epic, the second side speeds things up considerably with the heavy Determination. This song has a very Yes-like (think Roundabout) bass and keyboard approach. This is probably my favourite track of the album. Song For A King is more Camel/Caravan-like, a nice melodic tune. Roof Of The World once again picks up the tempo a bit and this one reminds me a bit of Beggar's Opera or possibly Arthur Brown. Looking In is another Caravan-like, slightly jazzier piece that closes this album in fine fashion.

All three albums by Mandalaband are worth having, but this is definitely the one to go for first.

An appealing fusion of ancient and modern

Mandalaband is not so much a band as a "project", structurally similar to the Alan Parsons Project. The role played by Alan Parsons in that band is here played by David Rohl who is the leader, orchestrator, producer, engineer and the brain behind the concept of the album. David also sings and plays various instruments on several tracks. As indicated by the title this is the third album released under the name of Mandalaband, the first being from 1975 and the second from 1978. This means that it took more than 30 years for Rohl and company to release this third album (and as far as I understand a forth album is already in preparation)!

Mandalaband III - BC: Ancestors is a conceptual album but this is less obvious than you might expect. There are some vocals and spoken word passages in some ancient tongue, but there is no narrated story or such behind the album.

We find here an appealing and very pleasant mixture of World Music, New Age, (soft) Rock and Symphonic bombast with some more modern sounds like programmed drums and discrete sequensers. The instrumentation is a deliberate crossover between ancient and modern, mixing Rock instruments like electric guitars, bass, drums (real and programmed) and various keyboards with traditional and exotic instruments like uilleann pipes, various whistles, bazouki, Spanish guitars, mandolin, viola, dulcimer, marimba and a plethora of different percussion instruments. The vocals are shared among several male and female singers including Woolly Wolstenholme of Barclay James Harvest fame who also play keyboards and contributes a couple of numbers of his own. Woolly's songs are similar in style to those on his recent Maestoso albums.

Anyone expecting a Symphonic Prog album will perhaps not be fully satisfied by this, but anyone with a taste for Mike Oldfield, Barclay James Harvest, Vangelis (particularly his 1492 - Conquest Of Paradise album) and The Moody Blues will probably enjoy it very much. Some songs even remind slightly of Camel in their more relaxed and laid back moments. The production is flawless and the sonic quality of the album is really impressive. The biggest problem is that there are too many different singers involved which makes the album sound a bit incoherent. I am also not very fond of those tracks that have programmed drums.

Personally, I still think that this is a very enjoyable and highly pleasant album and it is better than Mandalaband II, in my opinion (I have yet to hear Mandalaband I). This is absolutely worth hearing.

Recommended, but not essential

Well, since I've first listened to this music, I've became addicted to this music. Same as with Ayreon's first CD, Six Degrees of Inner Turbulence second CD, or Metropolis part 2. And Blomljud of course. Sleeping in Traffic and few others. Not all songs I can listen more times, The Eye of Wendor has (very) insteresting part only first half of it, second one is good, but not as good. Then Florian's song has beautiful guitar. Use of orchestra (sounds like that) in Ride to the City is remarkable. Alma's Tower evokes fantasy feeling inside me. Something like Discworld. For me, this album is a jewel. What a terrific fantasy story, I kinda like them a lot. Then little bit worse Like the Wind (vocals, I know, some may like them, but I don't). Then The Tempest, so called filled, but then new day came, very nice one. Vocals are pretty good. Elsethea, song about evil witch starts sounding addictive when he starts singing "hiding...", watch for it guys. Then chorals again, not so interesting for me. After this one we have song about good witch. At least it seems like good one. OK, in fact I've never read this part of lyrics, nor listened carefuly. OK again, I admit, it's about evil witch. And first one ? Who knows. Silesandre is beautiful. She would be, if she could be real. And also brave as hell. "When she must return to her domain, where even the brave no longer set forth." Lament is quite a lamenting, huh ? And Funeral of the King is far more electric, than you could expect. Coronation of Damien, nice end to the story. When I'm listening again tunes of "Dawn of a New Day", I can't help myself but to give it five stars. This is not overblown and hyped, at least not for me, because I've came to this record as a unknown, without no advertisment, no reviews read, strange sounding band which CAN be interesting. And The Eye of Wendor interesting is, indeed. A lot, a very, a super album which I can recommend to everyone who likes soft prog rock, orchestral parts and good, tender vocals.

5(-), there are some parts bad and most of them good. For me, masterpiece like effort.

This is a strange album from a strange band. Well, most prog rock bands are strange. But this band is specially strange. Or is it a project ? Well, read the biography and decide yourself.

The opening track is a symphony of some sorts in four movements. The similarities to ELP is duly noted. The addition of a choir adds texture to the music. There are some interesting bombastic orchestra parts in this symphony. But it is also layered with heavy prog, AOR and filmmusic too. This is the best track on this album.

The second song is pretty influenced by KING CRIMSON and rock music. It is straight forward AOR rock and nothing much else. The third song Song For A King is heavily influenced by CARAVAN. Roof Of The World has some SAGA influences and is pretty commercial AOR. Did they get a number one hit with this one ? Nope, but I am pretty sure it was not for the lack of trying. The final song Looking In is melancholic and pretty similar to what MANNING did twenty-five years later. Although Looking In is more AOR than Guy's songs.

So, that's my interpetation of what I have heard. This album touches most bases. The music include strong elements of symphonic prog, heavy prog, hard-rock, AOR, film-music and space rock. Even jazz has been integrated here. The use of electric guitars are pretty dense. Which makes it a bit hard-edged album. The vocals is pretty good. The use of orchestra makes this album pretty dated. The sound is OK though.

ELP is being mentioned as a reference. I only agree to a certain degree. But it is not an ELP clone by any means. The problem with this album is that it tries to be everything to everyone. AOR and symphonic prog is not good bedfellows, in my view. AOR dominates too much and it makes it a bit of a turn off for me. As a concept, this album is not a concept if you understand me. It is everything to everyone and it therefore looses it's focus.

There are some good songs here. Well, all of them are good in their own right. Some of the music is also a bit dull and dated. But it is not a bad album by any means. It is an album worth checking out.

3.5 stars

The list of guests on this album is impressive.

From his previous musical experience, Rohl got acquaintance with 10CC and BJH, and there is no surprise that most of their line-up is represented here (they played for free apparently). No surprise either that this album shows so many similarities with the early BJH ones, mixing tons of chord instruments with symphonic (in the true sense of the word) music.

Dear friend Whoolly is probably not alien to this. I was moderately enthusiast about these early BJH days (except ''Once Again'') and the same feeling prevails here. Not bad at all, but nothing from the other world either (''Ride To The City'').

Too many orchestrations overall are inundating this work (''Dawn of a New Day'', ''Aenord's Lament'') and it seems to me that this work is trying too to emulate some ''Renaissance'' ones; but without reaching their level IMHHO.

All in all, there is nothing wrong with this album but it is far from being attractive or original (''Silandre''). So, what's the point? Well, probably the fact that the excellent and long suite (over twenty minutes) from their first album has been added to the CD version. Actually, ''Om Mani Padme Hum'' is by far the most interesting piece of music from ''Mandalaband''.

As such, three stars for this release.

I have to say that I have a mixed feeling about this album.

One the one hand there are sublime instrumental passages but almost at the same time some weak vocals are drastically dragging this work on the lower site. One thing is for sure: you should listen further than the opening track to get the whole picture.

This intro piece might lead you on the wrong side of their music. It is indeed pretty much symphonic, and I like it as such but it might remind you too much of all the pomposity of an ELP.

Although this is a characteristics that is present on later tracks, it shouldn't overshadow the whole; which is rather pleasant and holds some brave guitar breaks as well like during the fourth movement of the epic ''Om Mani Padme Hum''. A very fine way to close this 20 minutes + track.

I would say that the other songs are not so convincing: more hard-rock or psyche oriented, they might hurt some prog ears but I don't complain. These sounds have filled my teenage days, after all.

Three stars.

At this rate it will be at least 2038 before the final part is released

By the time of this 1978 album, the Mandalaband was more of a project than a band as such. The sticker on the front of this release gives the game away immediately by proclaiming boldly that the album features Barclay James Harvest, 10CC, Justin Hayward, Maddy Prior and Noel Redding. The project's founder, David Rohl, had been around for some time as a musician and a photographer before releasing the 1975 eponymous debut of Mandalaband. The Eye of Wendor: prophecies was the second and final album released in that name.

During the intervening period between the two albums, Rohl became a studio engineer, rising to the position to chief engineer at Strawberry studios. This led to him working with a wide range of artists, many of whom he called upon to contribute to this release. The artists concerned did not seek payment for their contributions, costs also being kept down by using the studio at off-peak times.

Intended as the first part of a trilogy this album unashamedly takes its concept from a Tolkien-esque fantasy story. Unfortunately, the record company decided against sponsoring the second and third parts of the trilogy, and the story remains unfinished. If you wish to read the tale, it is told in full in the accompanying booklet for the re-released version of the CD. All the songs here are composed by Rohl, the guest artists taking on roles.

As to the music itself, we actually have a rather eclectic mix of symphonic prog, heavy prog and Celtic rock among others. The songs tend to take on the character of the principal performer, with Justin Hayward's and Maddy Prior's tracks for example sounding like extracts from their solo albums. As such, the album often has the flavour of a rock opera with grand orchestration and precise performances. It is perhaps this very precision which brings with it a lack of soul.

The best track is probably Witch of Waldow Wood, which features the distinctive tones of Kevin Godley, together with some excellent lead guitar played by Steve Broomhead and John Lees.

In all, in terms of the power and the ambition on show here, this is a very impressive album. The compositions too are highly melodic and well arranged. Despite all this, I cannot help but feel the album seems incomplete and a little disjointed. Worth a listen all the same, chances are you'll enjoy at least some of it.

This is one of my favourite albums of alltime. I really like the way Davy Rohl blends symphonic passages with rock and moreover how he integrates folk music with orchestral. There are many guests, but normally these are not my favorites: Most come from folk music or from not- too-progressive rock bands like 10CC, BJH and Moody Blues. Yet, with the orchestral touch done to this it all becomes very majestic. I would compare it quite a bit to Renaissance, especially when Maddy Prior takes the stage. For me this album served as an opener to more mellow type of prog, so if you like Renaissance and/or Orchestral music you should definitely give this a try. Highlights: Like the wind (awesome with vocals by Maddy Prior) and Dawning of a new day.

Mandalaband and this album, together with The eye of Vendor, is two very heavy works in the music history.I have strong memories of this time and this kind of special melodic and synfonic sound. It's happiness and love and hope for the future, that never came .Mandalaband is like nothing else made before or after, a special symfonic and very intellegent symfony that will take you to the deep inside of yourself, if you understand it, and give it a try. The mid seventies is cought from a special point of view, , and I was a part of that time..... Thanks Mandalaband!!

My comments are based on the original LP. One problem is that projects like this take so long to brew, that by the time they are released, they are almost passe by definition. Such was the case here, as the album did not see release until late 1978, when apathy towards prog was only exceeded by apathy towards pretentious concept albums.

Despite and perhaps partly because of the all star cast, cohesiveness is lacking, and, rather than subtle purposeful contrasts, we see bipolar mood shifts in alot of the material. The best here is top notch neo prog before its time - in particular the powerful one-two punch of "Florian's Song" and "Ride to the City" on side 1, and "Witch of Waldow Wood" and "Silesandre" from Side 2. Lush atmospheres and compatible vocals a la 10CC meets BJH. Actually, it is 10CC meets BJH.

Contributions from Maddy Prior and Justin Hayward are also valuable if not stellar, but the rest is definitely overblown, particularly the last few tracks, where we start wishing for any ending, even a tragic one.

So, a mixed bag. The Eye of Wendor is definitely in the second tier of the multi-artist extravaganza's that were thrown together frequently during the 70s.