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PROG FOLK

A Progressive Rock Sub-genre


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Prog Folk definition

In the wake of the 60's, a Folk revival started on both sides of the Atlantic, and got quickly linked with a protest movement, not always, but often linked to more left-wing tendencies, which did not sit well with the authorities. BOB DYLAN, JOAN BAEZ, WOODY GUTHRIE, JOHN DENVER, BUFFY STE-MARIE, but also the FARINA couple Richard and Mimi for the US and SHIRLEY COLLINS and EWAN McCOLL (mentor of BERT JANSCH, JOHN RENBOURN ) for the UK and HUGUES AUFRAY in France. In Quebec, there was the "Chansoniers" phenomenon among which CLAUDE LEVEILLE and FELIX LECLERC were the most popular, waking up the sleepy "Belle Province" and stand up for itself from the English rule. The English part of Canada also brought up JONI MITCHELL, LEONARD COHEN (although he was from Montreal) and NEIL YOUNG.

As DYLAN turned electric with his Highway 61 Revisited album, much to the dislike of purists who yelled for treason, Folk Rock was born, opening the floodgates for younger artists to turn on the electricity. As DYLAN soon abandoned to style to create Country Rock with his next album, his British equivalent Scotsman DONOVAN stayed true to Folk Rock. In the US, THE BYRDS were the main promoters of the style by now, culminating with the superb "Eight Miles High" track with a lengthy (for the times) guitar solo of almost one minute. But countless other bands on the west coast, such as LOVE, JEFFERSON AIRPLANE (and later its spin-off HOT TUNA), GRATEFUL DEAD, QUICKSILVER MESSENGER SERVICE, PEARLS BEFORE SWINE, and TIM BUCKLEY all started in the folk rock realm. Even San Fran's SANTANA with its Latino traditional music and, on the east coast, NY's THE LOVING SPOONFUL had folk roots. Notwithstanding the immense popularity of SIMON & GARFUNKEL and their delicious harmonies, Folk Rock was appealing only to the rock public as the older generations turned their backs in folkies.

In the UK, following on their countrymen DONOVAN, many Scotsmen were very influent in exploring new grounds for folk rock: INCREDIBLE STRING BAND (led by Scots Palmer and Williamson) with their two highly influential albums "5000 Layers Or The Spirit Of The Onion" & "The Hangman's Beautiful Daughter" and THE PENTANGLE (led by other Scots Renbourn, Jansch and McShee and their superb bassist Danny Thompson) and its incredible fusion of folk, blues and jazz style were very instrumental in developing the style to the same extent as FAIRPORT CONVENTION and THE STRAWBS who by that time were still more conventional US "west-coast folk rock". The single artistes in folk rock became known as Folk Troubadours were also numerous and often presented a more progressive side of folk: AL STEWART, NICK DRAKE, ROY HARPER, TYRANOSAURUS REX (actually a duo of Steven Took and Marc Bolan) , JOHN MARTYN etc.

However, the real angular album that will lead to further change of Folk Rock is FAIRPORT CONVENTION's "Liege & Lief" album, that proved to be highly influential for another generation of groups: this album concentrated into electrifying seminal English traditional folk and retained that quaint Englishness taste. It is interesting to see that both leaders of FAIRPORT quit the band after this success to go their respective way: Sandy Denny to a solo folk songwriting career and Ashley Hutchings to a very traditional folk rock. By this time, most connoisseur were talking of Acid Folk, Psych Folk, and Progressive Folk, all having limited differences and no particularly drawn-out limits or boundaries, but all relying on experimental or groundbreaking adventures and good musicianship but not necessarily of an acoustic nature.

Groups like THE THIRD EAR BAND and QUINTESSENCE relied on eastern Indian music influences and, sometimes, medieval tones. Other groups like the weird COMUS, THE TREES, SPIROGYRA, FOREST, the superb JAN DUKES DE GREY (all listed in the ProgArchives) but also TRADER HORNE, TUDOR LODGE, FOTHERINGAY, MAGNA CARTA, TIR NA NOG (all of whom could also be in the ProgArchives) were out to break new ground but with less commercial success as their predecessor. By 1972, all of the glorious precursors bands were selling fewer records and had problems renewing themselves and a newer generation of groups was relying in a more Celtic jigs or really traditional sounds. Such as HORSLIPS, DANDO SHAFT, STEELEYE SPAN, AMAZING BLONDEL, ALBION DANCE BAND and SPRIGUNS OF TOLGUS. Although JETHRO TULL had some definitive folk roots right from the start, their only albums that can be regarded as Prog Folk are 77's Songs From The Woods and 78's Heavy Horses. Ian Anderson (another Scots) was very keen in acoustical traditional songs. Some Folk Troubadours such as TIM BUCKLEY and JOHN MARTYN started turning records more and more axed towards fusing jazz and folk (a bit in what THE PENTANGLE were doing) , others became more and more electric and they started to be referred to as Singer Songwriters especially those with country rock influences.

In Germany, HOELDERLIN (and their fantastic debut album), EMTIDI, OUGENWEIDE, CAROL OF HARVEST, WITTHEUSER & WESTRUPP were exploring German folk while KALACAKRA , SILOAH and EMBRYO were indulging with Indian music. In South America, most notably in Chile, LOS JAIVAS (very bent upon Andean Indian music) and EL CONGRESSO (more Spanish-Latino folklore) were using folk in their rock, so much that some press talked about them referring it with the hateful term Inca Rock. In Quebec, the progressive movement exploded with the cultural identity and the Chansoniers tradition and this was carried out with LES SEGUIN and HARMONIUM and so many more. In France, many groups were out for folk rock such as RIBEIRO ALPS, TANGERINE, and ASGARD. In Spain, Flamenco playing a dominant role as well as Basque folk, TRIANA, ITOIZ and HAIZEA were the head of the movement once the Franco regime fell apart after his death.


There is also a very important medieval music influences dimension in some groups as the term Medieval Folk was also mentioned for a while but apparently dropped by musicologists. Among the UK groups are obviously GRYPHON, GENTLE GIANT and THIRD EAR BAND, in France: MALICORNE and RIPAILLE and in Scandinavia: ALGARNAS TRADGARD and FOLQUE.


Hugues Chantraine

Current Team as of January 1, 2015

Bob Moore aka ClemofNazareth
Ken Levine aka Kenethlevine
Sean Trane

Prog Folk Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Prog Folk | More Top Prog lists and filters

4.64 | 2505 ratings
THICK AS A BRICK
Jethro Tull
4.32 | 1923 ratings
AQUALUNG
Jethro Tull
4.16 | 1044 ratings
SONGS FROM THE WOOD
Jethro Tull
4.22 | 147 ratings
ST. RADIGUNDS
Spirogyra
4.17 | 245 ratings
ALTURAS DE MACCHU PICCHU
Jaivas, Los
4.13 | 467 ratings
RED QUEEN TO GRYPHON THREE
Gryphon
4.13 | 419 ratings
FIRST UTTERANCE
Comus
4.15 | 245 ratings
GRAVE NEW WORLD
Strawbs
4.15 | 232 ratings
HERO AND HEROINE
Strawbs
4.14 | 166 ratings
MICE AND RATS IN THE LOFT
Jan Dukes De Grey
4.10 | 246 ratings
THE HAZARDS OF LOVE
Decemberists, The
4.30 | 53 ratings
ERWARTUNG
Eden
4.04 | 911 ratings
STAND UP
Jethro Tull
4.01 | 1087 ratings
A PASSION PLAY
Jethro Tull
4.15 | 95 ratings
EZEKIEL
Itoiz
4.14 | 101 ratings
BELLS, BOOTS AND SHAMBLES
Spirogyra
4.01 | 858 ratings
HEAVY HORSES
Jethro Tull
4.62 | 22 ratings
LUCAS
Araujo, Marco Antonio
4.10 | 115 ratings
HÖLDERLINS TRAUM
Hoelderlin
3.99 | 859 ratings
MINSTREL IN THE GALLERY
Jethro Tull

Prog Folk overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Prog Folk experts team

FRESH MAGGOTS
Fresh Maggots
HAUL AR YR EIRA
Pererin
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Espers
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Yoke Shire

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Latest Prog Folk Music Reviews


 El Volantin by JAIVAS, LOS album cover Studio Album, 1971
2.48 | 24 ratings

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El Volantin
Los Jaivas Prog Folk

Review by Hannibal_20

2 stars I would like to begin by reviewing the best works of this band, as 'Alturas de Machu Picchu' and 'Obras de Violeta Parra', but if I review only the most important works I`d not ensure me having analyzed and reviewed all the work of los jaivas, so I will start by the beginning, it is preferable to go understanding each review as part of a story, then I begin telling how it all began.

Los Jaivas formed in 1963 at a school in Vi'a del Mar, Chile, the Parra brothers ; Claudio (piano), Eduardo (minimoog, sinth) and Gabriel (drums) and the friends Eduardo "gato' Alquinta (voice electric guitar, flutes) and Mario Mutis (bass), they were only children when they played for a first time in their college Guillermo Rivera Cotapos school, in that show they played with many another college mates and the result was a horrible attempt of music, which was answered by the public with throwing tomatoes and coins.

Although all they weren`t brothers, they lived in the same home (with many other boys and families, they were around 15 boys and girls), where they formed together, the music for them was one more game, when they grew formed a band called "high bass", referring to the difference in height between gato, mario and the Parra brothers, this name was later hispanicized to "jaivas" (also jaivas is like jaibas, That in spanish Means crabs), high bass played popular songs in marriages and partys. In 1969 They decided to create Their own music and started an improvisation period (1969-1971), looking for an identity They changed the name "high bass" to "los jaivas".They became in some kind of 'hippies' and played in concerts which young public came with their own instruments and participated in improvisations, it was a time where the public did not want to receive, it wanted to express, on that shows they known another musicians like congreso and los blops'

their improvisation works is compilated in 'la vor'gine' collection (published in 2003) but I don't want to review it, at least not for now

LETS START WITH THE REVIEW of the first studio album by los jaivas: 'el volant'n' (the kyte) this album sounds really weird.

The first theme; cacho, starts with a Little piano introduction, then starts to sound a kultr'n (an ethnic percussion instrument), in this song, gato, impersonating a Mapuche Indian, utters cries and insults against the Spaniards accompanied by the melancholy sound of synthesizer and kultrun.

'la vaquita' is a very original song, but it continues being very weird (it makes me think they were in drugs where composed it), there is much percussion and beautiful melodies of flute, they make a lot of strange screams and sounds mainly emphasizing the phrase ... la vaquita que compr' en la feria me sali' sin cola (the cow I bought at the fair came tailless), also a strange sound cames from the sinth.

"Por Veinticinco Empan'" is still more weird, is very similar to the first track, this time the main phrase is 'Por Veinticinco Empan' yo le bailo lo que quiera ust' 'for twenty five pattys' I dance what you want. "Tamborcito de Milagro" lets consider this theme and instrumental cause the vocals has not any meaning. "Que o la Tumba Ser's" is the first song in this 'lbum wich is not weird, it is a very changed version of the national hymn of chile, only conserving the lyrics and the melody on the phrase 'que o la tumba ser's de los libres' the rest are original, this song have a good acoustic piano melody, many percussion and very well flute solos and the new lyrics are good.

"Foto De Primera Comunion" its the first song i heared an electric guitar' it's a very cheerful song but it isn't great.

'ultimo dia' : psichodelic and weird the main phrase is 'ultimo dia, nadie se enoja' (last day, nobody gets anger').

Bolerito it's a short bolero it lasts just 25 seconds I think this album retains much of the improvisation period of los jaivas, its very experimental, becoming very weird, the best compositions here are that the "Que o la Tumba Ser's", 'foto de primera comunion' and 'la vaquita'

After hearing such a weird record like this you will not be eager to follow this band, so it is not a good album to start, but if you like los jaivas, you might be curious to know how they got started, if you understand the lyrics you'll laugh a lot, if you do not understand it you`ll think "what the hell i have listened?" (also if you Understand the lyrics you will think it a little).

Nobody borns being a master, this album represents just that, the beginning, los jaivas already decided to tribute to latin american folk sounds, their music wasn`t much rock yet but it was already experimental, AHH AND AN IMPORTANT THING I readed many reviews of many members, even collaborators telling los jaivas oriented his music to Santana, or to Italian progressive rock or many other bands or styles I don't even remember, these statements could not be more wrong PLEASE LEARN, not because something sounds like something more it means that are inspired in it, los jaivas tries to not sound like nobody but themselves, they created a very original musical language that is considered unique.

Finally I want to invite you to follow this wonderful band that fuzzed latin American folklore with progressive rock sounds, and it is considered one of the most important and influential bands of Chile and the rest of South America. Also I want to mention that los jaivas represent an example of unity and collaboration rarely seen in any other band, They lived in a same home, grown toghether, not only musically formed together, but also were formed as people together, sharing likes and way of seeing life, any member of the jaivas has been in any other band than los jaivas, that seems to be the reason for the longevity of the group.

 The Machine That Cried by STRING DRIVEN THING album cover Studio Album, 1973
3.33 | 35 ratings

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The Machine That Cried
String Driven Thing Prog Folk

Review by kenethlevine
Special Collaborator Prog-Folk Team

2 stars Dubbed as a classic in some circles, STRING DRIVEN THING's chief claims to fame seem to be their tenure on the "Famous Charisma Label", and their novel use of violin in a rock context, as a lead instrument rather than faux classical accompaniment, and somewhat before "mainstream" prog bands had adopted it.

Let's look at Charisma first. Formed by the manager of VAN DE GRAAF GENERATOR so he could release "The Least We Can Do Is Wave to Each Other", their 1970 album, ultimately they made their mark in the 1970s by providing a hearth for GENESIS and its offshoots. It is thus surprising how many of their signings were barely on the periphery of progressive rock. In particular, in 1970 they rewarded LINDISFARNE with a deal. The Geordie folk rockers outsold the ROLLING STONES for a brief time in the UK, and a year or two later, STRING DRIVEN THING was signed, perhaps in the hope that they could replicate that success.

It turns out that STRING DRIVEN STRING bears a strong resemblance to a hard rocking LINDISFARNE (Chris Adams sounds like ALAN HULL, although his dutiful spouse is more like a CHAKA KHAN-CHRISTINE PERFECT hybrid) with a fiddle on performance enhancing steroids. Unfortunately the augmentation does not seem to impart inspiration, and after a few single note solos and vibratos one has heard the entire repertoire, only to be subject to it again over and over. It's an aural assault that has little to do with prog and even less to do with folk, the taxonomy apparently due to something about the strings. So, when all is said and done, STRING DRIVEN THING's classic album is notable for, oh yes I said that already!

The first couple of tracks are probably the strongest, with "Heartfeeder" and "to See You" displaying the heavy and balladic sides of the band at their peak. "Two Timin' Rama" is the best of those pieces sung by Pauline Adams. The 11 minute "River of Sleep" is a typical prog collage offered up during the genre's halcyon days by band's lacking any serious credentials, its disparate pieces taped together like fragments from three different photographs all shredded simultaneously, until we realize why we shredded them in the first place.

The bonus material actually proposed a more reasonable way forward for the group, as blues balladeers. I have not heard their other albums so cannot comment on whether this approach was followed earlier or later, The prog quotient is even lower than on the original disk but these tracks do possess a certain period charm.

Mostly uninteresting and frequently irritating, THE MACHINE THAT CRIED might be the sort of work that unwittingly inspired a reverse reaction in the form of ELECTRIC LIGHT ORCHESTRA's silly fiddly bits, which is almost enough to move me to tears.

 Do Romance ao Galope Nordestino by QUINTETO ARMORIAL album cover Studio Album, 1974
5.00 | 3 ratings

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Do Romance ao Galope Nordestino
Quinteto Armorial Prog Folk

Review by GKR

5 stars Ok. How to introduce this genre and convince that this album is a masterpiece?

We have to beggin withthe beginning:

In the early seventies, a brazilian writter, Ariano Suassuna (http://en.wikipedia.org/wiki/Ariano_Suassuna) begun an artistic movement: Movimento Armorial. The proposal was, basically, link the northeastern brazilian popular culture, in all aspects, in a cultural movement of self valorization. The cordel literature (http://en.wikipedia.org/wiki/Cordel_literature), the xylography and the music of the popular "rabeca" (http://en.wikipedia.org/wiki/Rabeca) and fifes. What happened was, in this effort to bring the brazilian roots of popular culture to a solified movement, the musical expression must also be born. Then, several musical groups appear. Among them: QUINTETO ARMORIAL.

The interesting about ther music is that much of it came from europe. Obviously the music is not european anymore, but much of the chords and melodies date back from Portugal Medieval times. You should not be surprised when "Romance da Bela Infanta", remind you some moments of GENTLE GIANT. The title of the album already suggests this (because nothing is random, everything is picked up cautiously), "From romance to the northeastern scamper". Its the movement: from classic and medieval times, to our own cultural background and composition, re-thinking and re-composing music, figures and even the medieval imaginarium. "Repente" is a good reminder of this, "Toada e dobrada de cavalhada" even more. In tracks as "Bela Infanta" e "Excelência" not only the music is oriented in this concept as the title evoque medieval past. The high court in the brazilian "sertão".

I've tried to summarize everythin here, but this is not a easy effort. There are books and articles studying the movement and I probably will read them and came back here to improve this review.

For now, let the music alone speak.

 Heavy Horses by JETHRO TULL album cover Studio Album, 1978
4.01 | 858 ratings

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Heavy Horses
Jethro Tull Prog Folk

Review by TCat
Prog Reviewer

4 stars This album was considered the 2nd album in a trilogy of Folk Rock albums by Jethro Tull, the first being "Songs from the Wood" and the third "Stormwatch". In my own opinion, the first was the best of the three because of it's carefree feeling. This one is the 2nd best, and is very close to being as good as the first, but missing the mark just a little. This one was a little more rock oriented and heavier, but definitely not over the top in heaviness, not by a long way. There seems to be a little weakness in the album towards the middle with "Journeyman" and "Rover", but only because the songs towards the middle do not seem to stand out like the other tracks on the album. In fact, they start to sound a little too much the same as the tracks that come prior to them, but there is still a lot of quality in the songs. The album's only flaw is in the lack of variety.

Don't fear though, because this album contains several highlights and also more than a few career highlights among the tracks. I think the tracks "The Mouse Police Never Sleeps", "No Lullaby", "Moths", "One Brown Mouse", and especially "Heavy Horses" are some of the best songs from the band through it's long career. Because of the thickness of the songs here, it does take some time for some of the greatness to show through, but when it does, you can be sure that you will agree that there are some career highlights on this album. So there is definitely enough greatness on this album to merit adding it to your JT collection if you were wondering.

The album is definitely heavy on the folk and on progressiveness. There is plenty of both here. It is also both acoustic and electric guitar driven and the flute and keyboards are mostly on here as support. With all the great tracks on the album, there is also a share of minor songs which don't leave as strong of an impression and that leads to the feeling of weakness as you approach the songs in the middle of the album, but things do improve again towards the end.

With all the reviews done on this album, there really isn't much more to say. Not necessarily an essential album because nothing groundbreaking is on the album, but there are enough career greats on here to seriously consider owning the album. That makes it an excellent addition to your prog rock collection. 4 stars.

 Minstrel In The Gallery - 40th Anniversary: La Grande Edition by JETHRO TULL album cover Boxset/Compilation, 2015
5.00 | 7 ratings

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Minstrel In The Gallery - 40th Anniversary: La Grande Edition
Jethro Tull Prog Folk

Review by GKR

5 stars Much alike the "A Passion Play: an extended performance" this edition of "Minstrel in the Gallery" is almost superior to the original album. Besides the valuable information that the box contains (which, again, much alike the "A Passion Play..." we cannot even go further without spoilers), the tracks are remastered in a beautiful manner by Steven Wilson. The original album have something of a cold and stark sound (which I always though I liked), but this new version gain in a sweet echoey feeling in the acoustic songs. In the most electric parts, however, the sound is clear and without any kind of interference.

The live album is too something quite surprising: with more material from "Aqualung" and "WarChild", its a great show (that was recorded in video, but sadly only the "Minstrel in the Gallery" survived) with a strong performance that contains a bit of everything from the Hammond-Hammond era.

A must have to all prog-heads, not only Tull fans.

 The Great and Secret Show by RED JASPER album cover Studio Album, 2015
3.75 | 17 ratings

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The Great and Secret Show
Red Jasper Prog Folk

Review by kenethlevine
Special Collaborator Prog-Folk Team

4 stars New for 2015 we have yet another tale of a band's lead singer leaving and the drummer stepping forward to handle those duties as easily as if he had been secretly practicing all those years...wait, could it be? One could certainly argue that the 18 years that have passed since the release of "Anagramary" afforded RED JASPER sufficient interval to find a replacement, but they opted to promote from within, always a good strategy for a non profit.

David Clifford's deep and lightly theatrical voice is not exactly a dead ringer for the departed Davey Dodds, but it's close enough that, when blended with the acoustic guitars and neo prog backing for which this band is known, leads to the correct guess well within the bounds of 20 questions. Already on "Anagramary", the band had eschewed its more overt English folk flavor and was sounding like MARILLION meets latter day TULL, even if the cover art conjures up the band, and country's, now distant past. "The Great and Secret Show" is a logical extension of that late 1990s effort, and indeed, apart from the sterling more hard rock production, sounds like it could have come hot on the heels of its predecessor.

While the band continues to sound one misstep away from faceless neo prog, their lyrical and performance oriented panache and their subtle insistence on melodic development continue to overachieve within the limited confines of the sub genre. Robin Harrison's lead and rhythm guitars are heavy at times but always with purpose, while Lloyd George's mellotronic strings can sound divine even when they are doing little more than mood setting. "An Hour of Time" exemplifies these favorable qualities while "Bonds Beyond Reason" works brilliantly as a menacing duet between Clifford and Soheila Clifford (perhaps relation?) , with hard riffs by Harrison as the jealous third wheel, and reminds me of Quebec's ELIPHASZ.

This edition of RED JASPER does not seem to have an Achilles' heel, and you might in fact find 2 other random tracks to be your favorites here. While the more folk oriented among us might continue to lament the loss of one of the few such proponents left in neo prog, RED JASPER seems intent on having us keep this great secret from everyone including ourselves. Magic!

 Valentine by HARPER, ROY album cover Boxset/Compilation, 1974
3.51 | 10 ratings

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Valentine
Roy Harper Prog Folk

Review by SteveG

4 stars Erroneously listed under compilations and box sets in PA's Roy Harper discography, Valentine may be the summit of Harper's skills as a songwriter and that four of the album's songs are feature on his superb 2012 compilation album Songs Of Love And Loss, the most culled from any Harper album, and are there for a very good reason.

Aside from two Harper commentaries on his feelings towards Women's Lib, which is something along the line of you can't have your cake and eat it too, the other eight of the album's songs are about relationships past and present, and Harper is simply at his zenith when it comes to wearing his heart on his sleeves. The exception being Acapulco Gold in which Harper confesses love to both his lady and weed. Unlike the directness of Harper's 1970 album Flat, Baroque, And Berserk or the metaphorical obtuseness of Harper's material on Stormcock, from 1971, and Life Mask, from 1973, Harper combines the lyrical sensibilities of both styles on Valentine without becoming pretentious.

I'll See You Again and Twelve Hours Of Sunlight are among two of Harper's most potent and engrossing songs. The first about dismissing a lover because his feelings are unrequited and the second deals with longing compounded by a twelve hour flight from Europe to the US at twilight which seems to last an eternity (I know by personal experience) as the never ending day prolongs and compounds the feelings of loneliness and longing for a loved one. The instrumentation on the former is sparse acoustic guitar with multiple and necessary vocal overdubs by Harper, along with a sublime orchestral score by the late David Bedford that deftly combines baroque with a sense of modernism. Bedford's score on Twelve Hours Of Hours Sunset is even better with a string section that evokes both flight and loneliness. He is the album's unsung hero and almost bests himself with another ethereal score for Harper's take on the traditional Girl From The North Country.

There is not much that is blatantly progressive on Valentine, except for what is implied by trying to move folk rock into fresh territory, in which Harper easily succeeds. 4 stars.

 El Congreso by CONGRESO album cover Studio Album, 1971
2.94 | 18 ratings

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El Congreso
Congreso Prog Folk

Review by Hannibal_20

2 stars I have thought to review all the albums of this beautifull and rellevant chilean band

I ve already reviewed wich one that, in my opinion, is one of the best álbums of his career, the album "ha llegado carta" (it has come letter), but now I want to review the rest of his albums in order of release

"el congreso" is the first álbum of congreso, in 1971, first of all, must to clarify this: this álbum is not a prog one (except for just one theme), its pure folk rock it has mainly short themes with nice melodies and warm voices, it has quenas (Andean flutes), charangos (Andean little string instrument, like a mandolin) and other folkloric instruments, in addition to occasional symphonic instruments like violins and cellos, I thik the rock sound is pretty similar to the rock of the beatles in some parts

the best themes here are: "rompe tu espada, vive la vida" (break your sword, live the life), it has a beautifull melody and the lyrics are dedicated to peace, "maestranzas de la noche", bassed in Pablo Neruda`s poetry, the instrumental "el errante" that achieves a very good fussion and harmony between folk and rock sounds, the version of "el condor pasa" it's a good cover, this time with lyrics, that are about peace and unity, the closing theme A.A.R is the first prog theme of all history of the band, its very interesting but also al little monotonous, specially on the the cajón solo (cajón: percussion instrument of Peruvian origin) of the minute 45:45, further the starting electric guitar riff (34:00) is very ugly.

I think that this album is rather for those who lived at that time and remember it with nostalgia, also for the meaning of his lyrics, which were consistent with the social and cultural context of that age (hippie years) it also has an historical value for being the first album by congreso and if you like this band its very possible that you want to know how it all started

"el congreso" isnt a grat allbum, and although it has some good songs, is the only one of the band I don't like, in fact, I do not think it's a good album to start listening to this band, if you have not heard this band, this album could demotivate you, but Congreso gave a long step between their first and second album in quality of composition, so I invite you to follow this band that has fused the rhythms, instruments, ideas and Latin American feelings with the sound of rock, progressive rock and jazz, achieving a beautiful and important legacy for Chile and Latin America.

 Ha Llegado Carta by CONGRESO album cover Studio Album, 1982
4.17 | 14 ratings

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Ha Llegado Carta
Congreso Prog Folk

Review by Hannibal_20

5 stars this disc belongs to the most progressive era of congress, the time of joe vasconcellos singer and the great bassist ernesto holman, one of the most prominent bass players in Chile, and is one of the best albums of the entire congress career, the album begins with 3 short themes (3-4 minutes), but they are the only short ones on the disc, the first, "cancion didactica 1" (didactic song 1), despite not being progressive is quite fast and has a very good instrumentalization, characteristic of the group, marimba, bass, piano, flute, drums, the lyrics are very funny but not make much sense for a non-English speaker. the second short theme is "en el patio de simon" (in the courtyard of simon) although it isnt a great instrumental, is a beautiful theme, drummer Sergio "tilo" Gonzalez composed it for his son Simon when he was playing in the courtyard and is a very emotional issue, lovely. The latest issue is a short bolero is a weak issue but holds its own. in the 9:40 minute, instrumental and progressive part of the disc starts. the theme "sur" (South) is completely instrumental, very experimental and symphonic sound, what I did not like is that it is too little melodic, but that's normal in a theme of this nature "primera procesion" (First procession) is a beautiful theme, one of the best on this album, wonderful instrumentation and lyrics " y entonces nació³" (And then it was born) is fully instrumental, experimental and symphonic overtones the theme "se desplomen los armarios (que florezca el sentimiento" (subside Cabinets (May Flower Feeling)) (i dont know if is it the right traslation) is amazing song, excellent melody and instrumentalization, and a wonderful voice, you really need listen it. "ha llegado carta" (It has come letter) is another good song on the album (and is the one that gives the name to the album) is completely instrumental, standing out above all the great battery of sergio tilo gonzales finally, "ingreso a la hiperborea del sur" (entry into the Hyperborean of the South) is another fully instrumental theme, with a beautiful piano solo, this beautiful piece is inspired in the rainy forests of the south of chile highly recommended if you are Chilean or Latin American you will love this album, it combines Latin rhythms with progressive rock, and a sound very heavy to symphonic, excellent music latinoamenrican fussion, this album is also exporting our sound to the world, and one of the greatest prog albums from chile Now, if you are not Latin this record will continue to have value for you and leave you with a good taste regards.
 Alturas de Macchu Picchu by JAIVAS, LOS album cover DVD/Video, 2005
4.73 | 39 ratings

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Alturas de Macchu Picchu
Los Jaivas Prog Folk

Review by Hannibal_20

5 stars BETTER THAN LIVE AT POMPEII

Do not judge me too early and let me explain in what I base this statement that at first glance seem so radical and ridiculous

First I want to say that in this review did not specifically talk about the songs, this is the review of the DVD, not the musical work itself.

Live at Pompeii is an excelent production, a great masterpiece that has been an important benchmark in progressive rock, and has had many well-deserved positive reviews.

However, Alturas de Machu Picchu do not left behind ... despite being a much less known work of progressive rock (particularly prog folk), has been compared on many occasions with the great British production ... Now why do I say that is better? For one reason

Heights of Machu Picchu is really inspired in the city of Machu Picchu, although the musical work was composed in France, it is based on the poem Heights of Machu Picchu, by Pablo Neruda (Neruda is one of Most Important poets of the twentieth century). When Los Jaivas reached Machu Picchu discovered that they had really successful, the singing and the sounds represented exactly the spirit of the city and feeling expressed in the pages of the poem.

Alturas de Machu Picchu is also an ode to South America, despite having influences of progressive rock, has a large amount of South American flok elements like rithms and instruments ... I do not want to go into it, I recommend you to read reviews of this album and see the DVD.

On the other hand. Live at Pompeii is not directly based on Pompeii ... although it contains some historical images of what happened there, the songs are just songs taken from different albums of the band (meddle, to saucerfull of secrets) and the single Careful With That Axe, Eugene, all songs are great but are not composed for Pompeii

in that sense I think los jaivas achieved in alturas de machu pichu, something that pink Floyd don't achieved in pompeii

i said it, I do not want to detail about the musical work in itself, I just want to tell youI think this work is fundamental and it is essential that you listen it and watch it ? ¿why?, because the Jaivas created this masterpiece of progressive rock even when this genre has never been popular in South America, a work inspired on the Inca citadel through the verses of the poet Pablo Neruda, a masterpiece that has been a masterful tribute to machu Picchu and to all the South American spirit, creating an undisputed benchmark of folk rock in South America, is also an important piece of world music and if you are interested in entering in southamerican prog folk, through this DVD you can completely fill yourself with all its sounds and sensations in just 48 minutes it lasts.

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Prog Folk bands/artists list

Bands/Artists Country
0.720 ALEACION Mexico
3 DAFT MONKEYS United Kingdom
A PRESENÇA DAS FORMIGAS Portugal
AALTO Finland
RABIH ABOU-KHALIL Lebanon
ACCOLADE United Kingdom
ACCOLADE United States
ADARO Germany
AFFORESTED United Kingdom
AFION Croatia
AGAPE Canada
AGINCOURT United Kingdom
AIGUES VIVES Germany
AKTUALA Italy
NICU ALIFANTIS Romania
ALMÔNDEGAS Brazil
AMANITA Italy
AMAROK Spain
AMAZING BLONDEL United Kingdom
AMBER United Kingdom
AN DRO Germany
ANACRUSA Argentina
IAN ANDERSON United Kingdom
THE ANGELS OF LIGHT United States
ANNAMY Sweden
APARECIDOS Multi-National
AQUAPLAN Finland
AQUARIUM Russia
DAN AR BRAZ France
MARCO ANTONIO ARAUJO Brazil
DAN ARBORISE United Kingdom
THE ARBORISTS Canada
ARIA PALEA Italy
ARMY OF BRIARS United Kingdom
ARTSRUNI Armenia
ASGARD France
ASHADA Japan
ASHTAR Brazil
ASI SOMOS Puerto Rico
ATMAN Poland
AUCAN Argentina
AVALANCHE Netherlands
AVE SANGRIA Brazil
AZAHAR Spain
BABADAG Poland
BABY WHALE Multi-National
BAMBIR / THE BAMBIR Armenia
BANDA DO CASACO Portugal
A BARCA DO SOL Brazil
BARR Sweden
TOMAS BATISTA Argentina
BAYON Germany
BEAT CIRCUS United States
BEDEDEUM Italy
BERNARD BENOIT France
BLACKMORE'S NIGHT United Kingdom
BLOPS Chile
BLUEHORSES United Kingdom
BOULE DE SON Canada
BRAN (BRÂN) United Kingdom
BREAD LOVE AND DREAMS United Kingdom
BRECHE Canada
PAUL BRETT United Kingdom
BRÖSELMASCHINE Germany
BUCIUM Romania
TIM BUCKLEY United States
VASHTI BUNYAN United Kingdom
C.O.B. United Kingdom
CAEDMON United Kingdom
CALIBAN United States
CÁLIX Brazil
CAMELIAS GARDEN Italy
CAN AM DES PUIG Multi-National
CANDIDATE United Kingdom
CANO Canada
CANZONIERE DEL LAZIO Italy
MARCELLO CAPRA Italy
CARMEN United Kingdom
CARNASCIALIA Italy
CAROL OF HARVEST Germany
GIAN CASTELLO Italy
PHILIPPE CAUVIN France
CHAC MOOL Mexico
CHALIBAUDE France
CHERCHE-LUNE France
CHIMERA Netherlands
CHRYSALIDE France
CIRCULUS United Kingdom
CLOGS Multi-National
COMUS United Kingdom
CONGREGACION Chile
CONGRESO Chile
CONNIVENCE Canada
CONTRALUZ Argentina
CONVENTUM Canada
CORDE OBLIQUE Italy
DAVE COUSINS United Kingdom
CREMATORIUM Russia
CRYSTAL PHOENIX Italy
CRYSTAL THOUGHTS Greece
CURRENT 93 United Kingdom
DAEMONIA NYMPHE Greece
DANCER United Kingdom
DARNAKES Greece
DAWNWIND United Kingdom
DEAD CAN DANCE Australia
DECAMERON United Kingdom
THE DECEMBERISTS United States
DEMI-HEURE Canada
DETEKTIVBYRÅN Sweden
DIEGO DE MORON Spain
DODSON AND FOGG United Kingdom
DR. STRANGELY STRANGE Ireland
DULCIMER United Kingdom
DUN AENGHUS Multi-National
DUNWICH Italy
JUDY DYBLE United Kingdom
EDEN Germany
ELANE Germany
ELFONIA Mexico
EMERAUDE France
EMTIDI Germany
ENBOR Spain
ENGEL (MIGUEL ANGEL DE LA LLAVE JIMENEZ) Spain
L' ENGOULEVENT Canada
ROBERT ERDESZ Hungary
ERGO SUM Chile
ERROBI Spain
ESPERS United States
ETERNIDAD Argentina
LA FAMIGLIA DEGLI ORTEGA Italy
FARAWAY FOLK United Kingdom
FARPOINT United States
FAUN Germany
FAUN FABLES United States
FAUNS Germany
FAVERAVOLA Italy
FEATHERS United States
THE FELLOWSHIP Italy
FERN KNIGHT United States
FIABA Italy
FIELDS BURNING United States
FIORI-SÉGUIN Canada
FLAIRCK Netherlands
FLIBBERTIGIBBET South Africa
FLOR DE LOTO Peru
I FOLLI DI DIO Italy
FOLQUE Norway
FORENINGEN TIL LIVETS BESKYTTELSE Denmark
FOREST United Kingdom
FORSETI Germany
FRACTAL (CHILE) Chile
FRAGUA Spain
FRED United States
FRESH MAGGOTS United Kingdom
FUCHSIA United Kingdom
FUREKÅBEN Denmark
GAIA CONSORT United States
GALADRIEL Australia
GALAHAD Germany
GALLERY United Kingdom
GARMARNA Sweden
GAROLOU Canada
THE GENTLE SOUL United States
THE GHOST United Kingdom
GJALLARHORN Finland
GLAZ France
GORGO Ukraine
GRAAL France
THE GREEN CHILDREN Italy
LARKIN GRIMM United States
GROVJOBB Sweden
GROWING DREAM Canada
GRYPHON United Kingdom
GUALBERTO Spain
GURNEMANZ Germany
GWERZ France
HAIZEA Spain
ROY HARPER United Kingdom
HAWK South Africa
HAZARI Yugoslavia
L' HERBA D'HAMELÍ Spain
HEXVESSEL Finland
HOELDERLIN Germany
HORIZONTE Argentina
HORSLIPS Ireland
IBIO Spain
ILOUS & DECUYPER France
BRIAN IMIG United States
IN THE LABYRINTH Sweden
THE INCREDIBLE STRING BAND United Kingdom
INDACO Italy
IONA United Kingdom
IRAKLIS Greece
ITHACA United Kingdom
ITOIZ Spain
ITZIAR Spain
IZUKAITZ Spain
JACK O' THE CLOCK United States
LOS JAIVAS Chile
JAN DUKES DE GREY United Kingdom
BERT JANSCH United Kingdom
JESTER United Kingdom
THE JESTERDAYS Greece
JETHRO TULL United Kingdom
NIGEL MAZLYN JONES United Kingdom
JOX France
JUSTINE Multi-National
KAAMOS Finland
KADWALADYR France
KARNATAKA United Kingdom
CHRIS KARRER Germany
KATALENA Slovenia
KEBNEKAISE Sweden
KERRS PINK Norway
KING FISH CROW United States
KLADIVO KONJ IN VODA Slovenia
KOLINDA Hungary
ATTILA KOLLAR Hungary
KONTRABURGER Poland
KORMORÁN Hungary
KOSMOS Finland
BRUCE LAMONT United States
JÉROME LANGLOIS Canada
LAURELIE Belgium
LEAFBLADE United Kingdom
PERRY LEOPOLD United States
BENITO LERTXUNDI Spain
LI TROUBAIRES DE COUMBOSCURO Italy
LISA O PIU Sweden
LISKER Spain
LONG LIVE DEATH United States
LOT LORIEN Bulgaria
LOUDEST WHISPER Ireland
CLARE LOUISE France
LUMSK Norway
MADDEN AND HARRIS Australia
MAGDALENA Spain
MAGICKFOLK United Kingdom
MAGMA Argentina
MAJA DE RADO & PORODICNA MANUFAKTURA CRNOG HLEBA Yugoslavia
MALICORNE France
BRIAN MALONE United States
MARLBORO MAN Hungary
JUAN MARTIN Spain
JOHN MARTYN United Kingdom
MARY JANE United Kingdom
MASHMAKHAN Canada
LE MATCH Canada
SHELAGH MCDONALD United Kingdom
ME AND MY KITES Sweden
MELIMELUM Argentina
MELLOW CANDLE Ireland
THE MERLIN BIRD Australia
MESSENGER United Kingdom
MIDLAKE United States
MIDWINTER United Kingdom
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DRAGO MLINAREC Yugoslavia
MOĞOLLAR Turkey
COLIN MOLD United Kingdom
MONSEIGNEUR Switzerland
MONTREAL Canada
MORMOS United States
THE MORRIGAN United Kingdom
MOSTLY AUTUMN United Kingdom
MOTIS France
MOURNING PHASE United Kingdom
MOVING HEARTS Ireland
MR. BROWN Sweden
MR. TOAD Israel
MUNDI DOMINI Canada
MUSHROOM Ireland
NANCY ELIZABETH United Kingdom
NIRGAL VALLIS Mexico
THE NOCTURNES United States
NOMADS OF HOPE Sweden
MICHEL NORMANDEAU Canada
NORTH SEA RADIO ORCHESTRA United Kingdom
THE NOVA PROJECT United States
NUEVO MEXICO Mexico
NUIT CALINE A LA VILLA MON REVE Belgium
NYA LJUDBOLAGET Sweden
GAVIN O'LOGHLEN & COTTERS BEQUEST Australia
O.W.L. United States
OBERON United Kingdom
OCTOBER PROJECT United States
OLOFERNE Italy
OMNI Spain
OPEN EYE BAND Finland
ORFANADO Italy
ORPHEUS GHOSTSONG United Kingdom
ORYZHEIN Canada
OUGENWEIDE Germany
P. G. SIX United States
PAN-RA Germany
PARADOX Poland
EMMANUELLE PARRENIN France
PARZIVAL Germany
PASTORAL Argentina
PATANGA Germany
JEAN LUC PAYSSAN France
PEARLS BEFORE SWINE / TOM RAPP United States
THE PENTANGLE United Kingdom
PERERIN United Kingdom
LINDA PERHACS United States
PESNIARY (PESNYARY) Belarus
PHOENIX Romania
PIERROT LUNAIRE Italy
PIIRPAUKE Finland
PLANKTON WAT United States
POSITIVE WAVE Finland
PRINCIPAL EDWARDS MAGIC THEATRE United Kingdom
PROVIDENCE United States
PRUDENCE Norway
PTARMIGAN Canada
THE PUDDLE JUMPERS United States
QUICKSAND United Kingdom
QUINTAL DE CLOROFILA Brazil
QUINTETO ARMORIAL Brazil
RABBIT RABBIT (CARLA KIHLSTEDT & MATTHIAS BOSSI) United States
RADA & TERNOVNIK (THE BLACKTHORN) Russia
RAGNARÖK Sweden
RAMASES United Kingdom
RASPUTINA United States
REBEKKA Germany
RED JASPER United Kingdom
REIFROCK Germany
REVERIE Italy
RIPAILLE France
RITMIA Italy
ROGER RODIER Canada
KARI RUESLATTEN Norway
RUJA Estonia
S VREMENA NA VREME Yugoslavia
SAD MINSTREL Italy
SAGA DE RAGNAR LODBROCK France
SAINT JUST Italy
SAKRE Spain
THE SALLYANGIE United Kingdom
SCAPA FLOW Finland
SCARLET THREAD Finland
SECRET GREEN United Kingdom
SEDMINA Yugoslavia
GILLES SERVAT France
SHANNON France
SHAVE THE MONKEY United Kingdom
SHIDE & ACORN United Kingdom
SHINE DION Norway
SILMARIL United States
SINDELFINGEN United Kingdom
SINTESIS Cuba
JIMI SLEVIN Ireland
SMELL OF INCENSE Norway
SOFT HEARTED SCIENTISTS United Kingdom
SORNE United States
SPARIFANKAL Germany
SPIRES THAT IN THE SUNSET RISE United States
SPIROGYRA United Kingdom
SPRIGUNS (OF TOLGUS) United Kingdom
STACKRIDGE United Kingdom
VLATKO STEFANOVSKI Macedonia
ALAN STIVELL France
STONE ANGEL United Kingdom
STÓRSVEIT NIX NOLTES Iceland
STRANGE DAYS United Kingdom
STRAWBS United Kingdom
PEKKA STRENG Finland
STRING CHEESE United States
STRING DRIVEN THING United Kingdom
SUBURBANO Spain
SUBWAY Multi-National
SÜNDENFALL II Germany
SUPAY Peru
SUR PACIFICO Chile
SUSSITA Israel
SYNANTHESIA United Kingdom
TALAMASCA United States
TALITHA QUMI Romania
TAMALONE Netherlands
TAMARUGO Chile
TANGERINE France
TARENTULE France
TARUJEN SAARI Finland
LOU MAXWELL TAYLOR United States
TEA AND SYMPHONY United Kingdom
TEMPEST United States
TENHI Finland
TERRA MYSTICA Slovenia
BOB THEIL United Kingdom
THE THIRD ESTATE United States
THISTLETOWN United Kingdom
THOBY LOTH Finland
THORK France
THURSAFLOKKURINN Iceland
TIR NA NOG Ireland
TIRILL Norway
TORNAOD France
TRADER HORNE United Kingdom
TREES United Kingdom
THE TREES COMMUNITY United States
TREMBLING BELLS United Kingdom
TRI YANN France
TRIO DAG Yugoslavia
TROCARN Switzerland
TROISIÈME RIVE France
TROISSOEUR Belgium
TUATHA DE DANANN Brazil
TUDOR LODGE United Kingdom
TUIMA Finland
TUNEFISH Germany
TURQUOISE Poland
TUSMØRKE Norway
TYRANNOSAURUS REX (NOT T. REX) United Kingdom
U I BLUE United States
UDRAYA France
UNCLE DIRTYTOES United States
UNGAVA Canada
UNITED BIBLE STUDIES Ireland
STEVE UNRUH United States
UQBAR Argentina
US AND THEM Sweden
VEGA Spain
VIIMA Finland
VOICE OF THE SEVEN WOODS United Kingdom
JUNE WALLACK Canada
WATER INTO WINE BAND United Kingdom
WATERTOUCH Sweden
THE WAY WE LIVE United Kingdom
LEAH WAYBRIGHT United States
WERWOLF (WEREWOLF ART ROCK) Germany
ROBIN WILLIAMSON United Kingdom
WITTHUSER AND WESTRUPP Germany
WOVEN HAND United States
WURTEMBERG France
WYRDGENES United Kingdom
GABRIEL YACOUB France
YAVANNA Germany
YGGDRASIL Germany
YOKE SHIRE United States
YOU AND I Hungary
ZAGUAN Spain
ZARTONG Armenia
ZAUBER Italy
ZEIT Italy
ZLYE KUKLY Israel
ZRNI Czech Republic
ZYWIOLAK Poland

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