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ELOY

Psychedelic/Space Rock • Germany


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Eloy biography
Taking their name from the "Eloi", the futuristic race of people in H.G. Wells' The Time Machine, ELOY was initially formed in 1969 in Germany. Inspired by THE SHADOWS and THE BEATLES, they became one of the major bands in the progressive rock scene highly influenced by the space rock of PINK FLOYD. They started off in Germany as a hard rock band with a political bent, but soon drifted into a spacier progressive rock sound. They have had a number of turnovers, with a major split in the 1980s that resulted in a move into more of a mainstream direction. Based mainly on founder Frank BORNEMANN's guitar solos, their music evolved to include more synthesizers and choirs.

They produced many albums between 1971 and 1998 with different line-ups. Their best period is the mid to late-70's with the trippier space-rock of "Inside" and "Floating" (with Manfred WIECZORKE later of JANE). "Dawn" is actually one of the better of the symphonic-era ELOY albums, perhaps even the best. "Ocean" is a concept album about Atlantis, and one of the pillar albums of the German symphonic scene, and certainly worth checking out. They followed up with "Silent Cries and Mighty Echoes", the year later to even greater success. During 1993-1994, ELOY released three best of collections and it wasn't until 1994 with the release of "The Tides Return Forever", that they recorded and toured again is released and the band reappeared live on stage for several successful shows in Germany. Their last album "Ocean 2", released in 1998, was a surprising come back of a progressive rock band, which stopped recently their stage-appearances.

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Buy ELOY Music


Reincarnation On Stage (Live)Reincarnation On Stage (Live)
Artist Station 2014
Audio CD$14.48
$23.99 (used)
Silent Cries and Mighty EchoesSilent Cries and Mighty Echoes
Extra tracks · Import · Remastered
EMI 2005
Audio CD$7.76
$6.58 (used)
OceanOcean
Import · Remastered
EMI Import 2004
Audio CD$6.35
$7.25 (used)
ColoursColours
Extra tracks · Import · Remastered
EMI International 2005
Audio CD$6.48
$5.48 (used)
Tides Return ForeverTides Return Forever
Import
101 DISTRIBUTION 2011
Audio CD$10.59
$12.30 (used)
Ocean 2: The AnswerOcean 2: The Answer
Import
Drakkar 2007
Audio CD$5.12
$3.93 (used)
PlanetsPlanets
Extra tracks · Import · Remastered
EMI 2005
Audio CD$6.48
$7.73 (used)
InsideInside
Remastered · Import
Caroline EMI 2008
Audio CD$5.86
$4.49 (used)
Power & PassionPower & Passion
Import · Remastered
EMI Import 2000
Audio CD$6.90
$5.90 (used)
DawnDawn
Import · Remastered
EMI International 2004
Audio CD$6.14
$5.14 (used)
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ELOY shows & tickets


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ELOY discography


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

ELOY top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.82 | 183 ratings
Eloy
1971
3.74 | 314 ratings
Inside
1973
3.74 | 297 ratings
Floating
1974
3.64 | 302 ratings
Power And The Passion
1975
4.08 | 435 ratings
Dawn
1976
4.22 | 692 ratings
Ocean
1977
4.02 | 437 ratings
Silent Cries And Mighty Echoes
1979
3.71 | 319 ratings
Colours
1980
4.04 | 342 ratings
Planets
1981
3.88 | 282 ratings
Time To Turn
1982
2.81 | 147 ratings
Performance
1983
3.10 | 186 ratings
Metromania
1984
1.98 | 62 ratings
Codename Wildgeese
1985
2.74 | 151 ratings
Ra
1988
2.60 | 131 ratings
Destination
1992
3.50 | 161 ratings
The Tides Return Forever
1994
3.80 | 216 ratings
Ocean 2: The Answer
1998
3.30 | 199 ratings
Visionary
2009

ELOY Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.03 | 120 ratings
Eloy Live
1978
4.29 | 57 ratings
Reincarnation on Stage
2014

ELOY Videos (DVD, Blu-ray, VHS etc)

3.70 | 28 ratings
The Legacy Box
2010
4.50 | 8 ratings
Live Impressions
2013

ELOY Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.08 | 15 ratings
Wings Of Vision
1982
3.07 | 21 ratings
Rarities
1991
3.59 | 51 ratings
Chronicles I
1993
2.27 | 40 ratings
Chronicles II
1994
4.00 | 19 ratings
The Best Of Eloy Vol. 1 The Early Days 1972-1975
1994
3.59 | 17 ratings
The Best Of Eloy Vol. 2 The Prime 1976-1979
1996
2.57 | 11 ratings
Chronicles Vol. 1 & Vol. 2
2000
2.69 | 18 ratings
Timeless Passages - The Very Best Of Eloy
2003

ELOY Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.00 | 3 ratings
Walk Alone
1970
2.05 | 6 ratings
Daybreak / On the road
1973
2.09 | 6 ratings
Wings Of Vision / Sunset
1980
3.63 | 8 ratings
Silhouette / Horizons
1980
2.08 | 4 ratings
Wings Of Vision (Maxi)
1980
3.25 | 4 ratings
Time to turn / Through a somber galaxy
1982
2.69 | 7 ratings
Fools
1983
2.50 | 4 ratings
Sensations
1988
2.07 | 5 ratings
Rainbow
1988
2.60 | 5 ratings
Call Of The Wild
1992
2.50 | 4 ratings
Fire And Ice
1992
2.00 | 3 ratings
Generation Of Innocence
1994
2.92 | 4 ratings
Childhood Memories
1995
3.00 | 9 ratings
The Answer
1998
3.10 | 11 ratings
The Challenge
2009

ELOY Reviews


Showing last 10 reviews only
 Reincarnation on Stage by ELOY album cover Live, 2014
4.29 | 57 ratings

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Reincarnation on Stage
Eloy Psychedelic/Space Rock

Review by Rivertree
Special Collaborator Psych/Space Team & Band Submissions

4 stars Have to regret now, obviously I missed the train while ignoring their live tour in 2012/13. Maybe for the reason that I wasn't very pleased with the latest studio albums. Anyhow, this production is top-notch nevertheless, for what it's worth. This is the band's first live documentary since 1978, offered as a double CD with a running time of over 140 minutes. The cover is really great by the way, showing Frank Bornemann posing with his Venetian mask. Here we have a representative cross section reflecting more than 40 years of ELOY activity with eighteen studio releases in the back, where Frank interestingly enough has a preference on the 1980's 'Colours' album.

The track order admittedly mirrors the executed live set, the particular songs though are deriving from different occasions. So in some way you can say that this is a best-of compilation from their extended Europe tour. Without ignoring today's better sound quality most certainly, the band's clear aim was to take the audience on a time travel, while offering the original sound as accurately as possible, for example by using vintage synths and analogue guitar effects. And there's also a proper luxury to state when having two guitarists and two keyboardists capable - previously, under studio recording circumstances, solely realized with overdubs.

Something's missing now? Oh, certainly yes, Frank's distinctive voice, featuring this typical German accent, is still there too - of course a real trademark. He's in command when leading through the program with much confidence, alongside with constant compagnion 'Matze' Matziol (bass) who appears at his best on Ro Setau for example. What you can enjoy is a bunch of catchy melodic songs featuring a blend of symphonic and psychedelic ingredients, excellently supported by a female choir trio comprised of Anke Renner, Alexandra Seubert and Tina Lux. The 'Ocean' (1977) adopted excerpts like Poseidon's Creation are showing the band's atmospheric disposition at best. 'Reincarnation On Stage' is a real pleasure, not only for designated ELOY fans. And to band newbies there's no better recommendation to start with - 4.5 stars.

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 Planets by ELOY album cover Studio Album, 1981
4.04 | 342 ratings

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Planets
Eloy Psychedelic/Space Rock

Review by FragileKings

4 stars My fourth Eloy album after "Floating", "Dawn", and "Silent Cries and Mighty Echoes", I was leery about the release date being 1981. Was I going to hear a lot of 80's-styled synth-pop weakly disguised as prog? Surprisingly, no.

"Introduction" to this allegory of good and evil fighting for control of a shining population of an planet is a simple spacey synthesizer instrumental. "On the Verge of Darkening Light" launches us into the album proper and I find the similarities to the sound of "Silent Cries" remarkable. It's as if the feast of new sonic delicacies that became available (for better or for worse) in the 80's had not yet reached the Eloy menu. The rock guitar is kept to minimum space in order to exploit the keyboard sounds more. The song takes on a symphonic prog feel near the end. The last 35 seconds or so sound like a separate track that serves as a transitional instrumental that takes us into "Point of No Return". This song has more weight to it with some simple heavy rock chords, but the synth-weighted approach is maintained. This has become my favourite track on the album.

"Mysterious Monolith" begins with an organ sound which is accompanied by a spacey synthesizer bit, and soon bass and organ again. In between the vocal parts are passages of guitar and synthesizer with a nice melody. There's an interesting synth-fuelled instrumental ending with solid bass and drum backing. The guitar is once again almost nonexistent, a big difference from "Floating".

Side two begins with "Queen of the Night", which for me is another song worthy of mention. It begins with piano and vocals and then a string section comes in. Next the drums and guitars make their entrance and then a chorus of female background singers. There's a distinct late-70's feel here with a groove that sounds like disco rock without the dance part. There's a by-now-obligatory synthesizer solo before the male vocals return with the rock band and strings. The finale is dramatic with the string section hard at it.

"At the Gates of Dawn" is a mood-setting instrumental piece with piano, clean electric guitar, synthesizer, bass, and percussion but no drums. It seems to suit very well the early 80's planet theme. Strings join in again and though it's nothing to tell your cousin in Denmark about, the track fits in nicely on the album. We're back to the ball game with "Sphinx" and an intro that sounds like Alan Parsons Project going heavy. It would almost make for a good heavy metal tune; however, the synthesizer, bass, and drums still figure in prominently. In the middle we receive a nod to "Goodbye Cruel World" from Pink Floyd's "The Wall" with a simple two-note bass line. The music is, however, a little more tense than sedate. After a short but simple drum break, we are back to the song, which soon begins to fade out with cosmic winds blowing in.

The closing track of the album, "Carried by Cosmic Winds" has a good composed-for- synthesizer introduction. There's the synthesizer-bass-drum band but the guitar player has gone home. A violin joins after the vocal parts and perhaps a second one follows. There is a swift dramatic conclusion and the album reaches its close.

The music here is nothing too complex and relies heavily on synthesizer and keyboards. It's very different from "Inside" and "Floating", but also thankfully not too much like the music of the early 80's. It sounds firmly and thickly stuck in 1978 for the most part. A very good album given the times and certainly one Eloy fans are likely to praise.

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 Power And The Passion by ELOY album cover Studio Album, 1975
3.64 | 302 ratings

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Power And The Passion
Eloy Psychedelic/Space Rock

Review by psychprog1

3 stars This is an atmospheric album, but I would generally call it "poor man's prog"... I remember, around 34 years ago, when Eloy came to my country and this album became an "icon" for local prog fans. I believe this was the first ever concert by a foreign prog band in this country (people from my country must have just guessed what I'm talking about), and I definitely understand why Eloy LPs like this one have been so much worshipped around here.

But... I cannot disregard the flat vocals, the awkward lyrics, the poor and complacent playing which is more or less derivative of Jethro Tull and the like.

I still enjoy listening to it myself sometimes but I would find it naive to praise it a lot, as there are hundreds of pleasant prog LPs like this one.

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 Eloy by ELOY album cover Studio Album, 1971
2.82 | 183 ratings

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Eloy
Eloy Psychedelic/Space Rock

Review by presdoug

5 stars Wow, this album impressed me from the get go. It is not much heralded by fans of the band, so I wondered what i was getting into, but was pleasantly pleased with the sonic result.

This self titled debut album is definitely a showcase of the band's heavy prog past, with a tiny bit of spaciness thrown in for good measure. And this is REALLY great heavy prog at that. The songs are cerebral, a touch quirky, but never trite, always holding your interest with their nifty time changes and such. And the atmosphere created is real krautrock, back when the term just meant "German rock"-i really dig the early seventies, continental European vibe to "Eloy".

I love this record. I never thought that they would surpass their second opus "Inside", but the debut holds it's own with that great second album of theirs. The songs are complex enough that one can come back to this recording over and over without loosing interest in the cohesive spirit it displays. I feel the recording is good enough to warrant the designation "essential". Five stars.

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 Power And The Passion by ELOY album cover Studio Album, 1975
3.64 | 302 ratings

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Power And The Passion
Eloy Psychedelic/Space Rock

Review by apps79
Special Collaborator Neo Prog Team

3 stars As concept albums were in fashion among Prog Rock acts of the 70's, Eloy's Frank Bornemann did not want to stay out of the game.Based on Gordon Bennit's scripts, the band invented a story about a character named Jamie, who took advantage of his father experiments and travelled through time, landing in Paris of 1358 and living a love story with a girl named Jeanne, who was suffering in the hands of the evil Zany Magician.It is rumored Eloy originally worked on a double-vinyl release, eventually ''Power and the Passion'' was released on Harvest during the second half of the 70's as a single LP.The album was recorded at Tonstudio Nedeltschev in Cologne during the summer of the same year, while Eloy had added another guitarist in the line-up, Detlev Schwaar.

Not only ''Power and the Passion'' was a new trend for the band regarding its concept story, but musically it finds the Germans in a rather transitional period.Of course the first few tracks present Eloy in their already familiar style of Heavy/Kraut Rock, based on the fiery riffs and the excellent organ moves, adding a bit of a Classical influence in some moments, and always highlighted by Bornemann's rusty voice.As the album and the story unfolds a new side of the group is progressively unleashed.The longer tracks feature extended Space/Symphonic Rock instrumentals with narrations and prominent use of synthesizers, delivering cosmic explorations and unique atmospheres.In the name of the concept the album develops a mix of old and new Eloy styilings, blending heavy parts with an organic sound with more psychedelic soundscapes, serving the mood of the concept.Wieczorke is credited a Mellotron in the album's notes, but ear experts insist on hearing a string synth instead, whatever it is its addition makes the sound of Eloy more dark and ethereal in the place of the more bombastic Hammond organ.The new elements do not stop here, grand and electric piano are also introduced with the sweet ''Thoughts Of Home'' being a nice example, though it much more resembles to a Horner clavinet.There are pretty nice changes, depending on the character and event each track refers to, with ''The Bells of Notre Dame'' being an absolutely great closing piece, featuring a spacey, orchestral approach based on string synthesizer and Bronermann's psychedelic guitars leading to a developing, grandiose outro, as our character Jamie returns back to present with the nostalgic sound of the bells reminding of his beloved Jeanne.

A very good attempt from Eloy in the concept fields.The new sound of the group is quite enganging with impressive shifts between hypnotic, storytelling lines and sharp Heavy Prog runs.Strongly recommended, even if you love the elder Eloy offerings...3.5 stars.

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 Time To Turn by ELOY album cover Studio Album, 1982
3.88 | 282 ratings

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Time To Turn
Eloy Psychedelic/Space Rock

Review by sinslice

4 stars From the excellent Dawn, Eloy definitely forged his unique sound. Obviously, with influences from various sources, but with its distinctive touch. Indeed, the golden age was from Dawn to this outstanding Time to Turn. From here, only Ocean II was at the same height musical.

Time to Turn is mature, compact and transcendent. It isnt an innovative product with reference to the previous albums, but continues in the same musical and lyrical line. The sound is reminiscent of the 80's, the remastered version is excellent. There is a wonderful interplay Between Bass Guitar, Keyboards and Guitars.

End of an Odyssey, Behind the Walls of Imagination and Through Somber Galaxy are essential classics of this particular band, which should be much more appreciated and recognized that it already is.

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 Silent Cries And Mighty Echoes by ELOY album cover Studio Album, 1979
4.02 | 437 ratings

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Silent Cries And Mighty Echoes
Eloy Psychedelic/Space Rock

Review by Memo_anathemo

5 stars This album is especial for me for two reasons. FIrst, it was released the year I was born; second, Eloy is one of my favorite German bands. After the incredible album "Ocean" and its great success, Eloy was in the need to maintain the same standard of high quality. With the album "Silent Cries and Mighty Echoes" they could perfectly achieved that. With the opening track "Astral Entrance" you immediately know what you are about to hear, an album full of excellent background landscapes to create an adequate atmosphere for a journey to space. All the tracks have the same essence and my favorite track is by far the epic 'The Apocalypse', which is a complete song that introduces the powerful destruction of your ideal place and the aftermath. Definitely a must!

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 Ocean 2: The Answer by ELOY album cover Studio Album, 1998
3.80 | 216 ratings

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Ocean 2: The Answer
Eloy Psychedelic/Space Rock

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl Team

4 stars Giving a sequel to a great album like Ocean after 30 years which have included the 80s was surely a big challenge and I have to say that I had a lot of concerns and I have managed to listen to it only several years after its release.

Eloy are still a bit derivative. On the Floydian opener they use some sounds which can be heard exactly the same on the intro of Shine on You Crazy Diamond, but respect to the plastic and synthetic sound of albums like "Destination" it's surely a big improvement.

Part of the old lineup, but not the same of the first "Ocean" is at work and they seem to have forgotten things like "fairlights and drumatics" (I don't know if Eloy have ever used them but is to give an idea of the sounds I'm referring to).

After the intro the first "song" maintains what the intro promised. It's a true progressive song which can remind to the first "Ocean". The Floyd influence is not so relevant. The Bornemann's vocals and they keyboardsare a trademark of the band which in now clearly recognisable. On the last notes of Ro Setau I can imagine Jon Anderson starting the following song, but it's just an impression. This is a very good song.

"Paralyzed Civilisation" is another very good song. The guitar has something "Camelistic" but can't be defined derivative.The song has many different moments and passages and in the riff at the middle of the song Bornemann places one of his best guitar inventions. The vocoder adds a touch of Pink Floyd (AMLOR) to a choir close to 90125.Derivative? No. Eloy have absorbed other's music and created their trademark. They can't be confused with anybody else.

"Serenity" is a short bridge leading to the following track whose title "Awakening of Consciousness" seems taken from a Senmuth's album. It has a rocking intro and proceeds with a high tempo for half of the track where it slows down for a short interlude before returning to the initial theme.

"Reflections From The Speres Beyond" is the longest track and the one more similar to the old Eloy. It could easily stay on the original Ocean album and it surely the highest peak of the album. Bornemann has adjusted his accent which now doesn't sound so unbearably German as in the 70s, but I'm so used to his voice within those chords that I'm quite missing the strong accent he once had. Only the female choir is a bit misplaced as it's too high-volumed respect to the rest of the song. A mention goes to the excellent keyboard layout.

Another relatively short song, "Waves Of Intuition" which proceeds in the same mood, acts as bridge to the closer but not only. It's another good song on its own. The only problem is that all the album's songs are quite similar. It's good that the mood of the album doesn't change too much as in Ocean, but that was a vinyl with a langth around 40 minutes. This CD is near to double that time and it can make the listener tired. Anyway, this track contains a very Camelistic guitar.

"The Answer" is a good closer with an almost "operatic" choir and a sort of "Bolero" progression. It sounds like a sort of religious anthem. In these years bands like "Enigma" were rediscovering the Gregorian chants and this is where also this song seems to be going. It leaves the last two minutes for an electronic coda and the album is gone.

It's just a bit too long but it was the best Eloy's release of the previous 10 years. It will remain the last until an unexpected return more than 10 years after which I still have to listen to. Even if is a bit derivative, like the ost of the Eloy's production, I'm happy to rate it with 4 stars

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 The Tides Return Forever by ELOY album cover Studio Album, 1994
3.50 | 161 ratings

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The Tides Return Forever
Eloy Psychedelic/Space Rock

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl Team

3 stars As many of the listeners who loved albums like "Power and the Passion" and "Ocean", I'm not used to give a spin to the later Eloy's works, but this "The Tides Return Forever" is surely an improvement compared to "Destination". At least it seems that Bornemann has learned how to better use the 80s electronics, has also partially corrected his German accent, and most of all the music on this album is not too derivative. I have always seen Eloy as a very good band with the defect of trying to sound similar to somebody else. After about 25 years of activity we finally have a band which sound is not innovative but at least it's "original".

Apart of the opener, "The Day Of Crimson Skies", which still sounds like Trevor Rabin's YES with a touch of Alan Parsons Project, the following song is excellent. "Fatal Illusion" has strong melodies which I feel on the same line of KAYAK. The same for "Childhood Memories".

Then some 80s-like poppy-YES sounding song: "Generation Of Innocence seems coming from 90125. Well, that's an album that I like, so I can't say that it's a masterpiece, but it's not a song to skip. In its slower parts, when the 80 drones shut up, it's very nice.

"The Tides Return Forever" deserves to be the title track. Maybe a bit radio-friendly (but over 6 minutes long), has a strong melody even if it's based on very simple and common chords. I think that the female vocalists are a bit misplaced but they do an excellent work adding maybe a touch of ROGER WATERS to the sound. It's the year of Amused to Death but I think to Radio KAOS.

"The Last In Line" is in the wrong place. A pop song which may have been a commercial successf if launched 10 years before. It sounds like THE CARS of Candy-O. I confess that I like the Cars, too and I have also bought some Ric Ocasek's solo albums, but this is not what I expect from Eloy.

Finally the closer. "Company Of Angels" is luckily totally different from the previous song. This is the real highlight and one of the most "original" songs ever come out of Bornemann's pen. An album made of songs like this would have been a 5 stars one.

A good album with some highlights, not enough to consider it an "excellent addition",mainly because they are counterbalanced by some lowlights.

A honest three stars effort.

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 Inside by ELOY album cover Studio Album, 1973
3.74 | 314 ratings

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Inside
Eloy Psychedelic/Space Rock

Review by Einsetumadur
Prog Reviewer

3 stars 9.25/15P. A home match for me: Hannover is just 300km away from my home. Nonetheless, I cannot really find a home in this music. But, of course, it ain't no German music, which could be the reason ...

Well, this could have become a classic album of vintage German rock music. From the very first seconds of the album you hear how much potential this fairly young German band had in this line-up. This album benefits a lot from a warm production, a really tight bass player, a Hammond organist with a lot of feeling and a really decent composer. But unfortunately the band sometimes manoeuvres itself into quite some embarassing moments which totally destroy the atmosphere.

Land of No Body begins very interestingly with delayed bass and Hammond organ notes out of which Frank Bornemann's vocal melody arises. In my opinion Bornemann has never been a good vocalist, perhaps in one league with Lee Jackson of The Nice regarding that he was able to convey a message and a unique timbre despite the basic sense of tonality. On this album, however, his voice is often enough pretty enjoyable, especially in the moments when the band gets completely absorbed with the songs they perform. The topic of this song, a future journey to a new planet, is utterly pretentious, but the esoteric and slightly naive fantasy concept is something which defines Eloy, and if you don't get involved with that spirit at least a bit, you really miss something when listening to this music.

###... what I don't like ...###

But admittedly there are these strange moments on this album, for instance like Up And Down in which I cannot help shaking my head about how much the sense of self of the band differed from what they sound like. In the middle of a plainly gorgeous song, including spacy organs and a really soothing groove, the drummer of the band delivers a political speech in terrible English (we oppose 'sese matter of facts, but sometahms we couldn't do againsdad) which firstly doesn't make sense in some places due to the lack of some words, and which secondly copies some words from fellow German band Birth Control's (more meaningful) anti-Vietnam-war speech in the beginning of Gamma Ray. Of course, Eloy come from Germany and learnt their English at school. But if you read the booklets of the Eloy reissues you'll know very soon that humility isn't Frank Bornemann's prime trait. It's not that he really talks down other bands, but he does regard the Eloy lyrics as moments of profound spirituality and philosophy, and - as far as I remember - laments at some place that today's audiences don't have enough appreciation of these cosmic thoughts today. The problem is that I think that the lyrics are very superficial. There are these clumsy rhetorical questions in Future City (''guess how you feel when smog is catching your breathing?'') which somehow describe how the world could look like in some years in a very black-and-white way. Even Land Of No Body (which generally is a lot more endurable lyricwise) contains hollow phrases like ''we want freedom for the world, power to the people''. Moments like these simply make me angry because they aren't authentic. I'm convinced that bands from every country are theoretically able to make authentic music, and it's perfectly okay to be inspired by some bands, but as soon as Eloy start emulating their British idols things turn out really awkward.

And this is why so many moments on this record turn out to be incredibly ridiculous. Listen to the trademark Pink-Floyd-'Echoes' sonar ping note in the middle of Land of No Body and imagine keyboarder Manfred Wieczorke's huge smile on his face, thinking 'oh yeah, I know how to make that sound with my Hammond organ'.

Listen as well to Future City which copies the chromatic riff of Jethro Tull's Beggar's Farm. Of course there are always melodic similarities in blues music which cannot be avoided. But Bornemann also tries to copy Ian Anderson's vocal style and clumsily attempts to modify the Beggar's Farm melody to make it his own somehow. But somewhere during the composition process Bornemann lost the moody dominant minor chord and subdominant major chords which definitely defined Jethro Tull's song; hence, Bornemann stays on the same chord and repeats the 'guess how you feel' line many many times instead. I wouldn't call the piece a plagiarism, and it's actually a bit moody as well, but it really is inferior to Beggar's Farm and I do miss the authenticity again.

A third example is Bornemann's self-assured screaming in Land Of No Body. It's not that he screams particularly badly, but in combination with the bolero rhythm and the fat Hammond organ this part sounds so much like 'oh yeah, we have invented a German equivalent to Child Of Time' that I cannot take it seriously.

###... what I like ...###

The clarification to those who probably ask themselves why I rate this album with three stars although there are such a lot of aspects which I criticize is that there are indeed parts in which Eloy don't copy the style of Uriah Heep, Jethro Tull or Pink Floyd. Perhaps it's a sign of neglectfulness, perhaps it's due to excessive demands or due to a lack of time to absorb all the new albums which came out in those days - or maybe, to be complaisant, as a result of true artistic inspiration.

Howsoever - the title track Inside may really be regarded as a classic piece of German hard rock balladry. The fragile and ticking intro with the entangled organ/acoustic guitar work is quite beautiful, the lyrics are introspective and the vocals really manage to touch me emotionally. It's a bit disappointing that the band crash into some thick hard rock riffs after less than two minutes, but even then Frank Bornemann gets it all wrapped up with a terrific dual guitar solo. This kind of music, possessing this rough and somewhat chunky approach which is rightly associated with the name 'Krautrock', is indeed different to the sound of the equivalent British bands and makes a worthwhile listen. The Latin-flavored instrumental part of Future City with all of those rattling percussion instruments and acoustic guitars provides an entertaining contrast to the bluesy vocal part, thus allowing me to reconcile a bit with the uninteresting vocal parts. I've already mentioned that Up And Down is a really decent piece of organ-dominated psychedelia; so if you're able to ignore the political speech you'll be likely to enjoy it a lot, especially because the chord changes in the lengthy ending part sound quite sublime and lordly.

In fact, Land Of No Body emerges as a thoroughly palatable main dish, too - particularly when Eloy simply jam around aimlessly. The aforementioned organ solo is six or seven minutes long in total, and before Wieczorke ends up doing this strange pseudo-avantgarde stuff he plays some beautiful organ lines which are truly balm for the soul, especially on top of this steady and hypnotic beat. Many German rock bands called themselves 'psychedelic', but few of them succeeded in creating truly atmospheric instrumental parts. Eloy - despite all criticism - had the chops and the sense for these kind of atmospheres. It just seems that by the time of Inside the wish to sound like all of their idols at the same time was bigger than the wish to establish a sound of their own.

Overall, listening to this Eloy album sometimes is quite an satisfying thing to do, but it might feel a bit ambivalent and uncomfortable at times. At least in my case listening to Eloy frequently puts my musical assessment in questions, provoking questions about what 'inspired music' actually is, the question if there's any innovation in progressive rock music at all, the question why so many German rock bands appear more boring to me than their British counterparts. It's definitely not an essential album, but I enjoy it as much as Ocean and Silent Cries And Mighty Echoes and gladly refer to the occasional moments on this album which surpass the 3-stars level.

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