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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 | 2532 ratings
THICK AS A BRICK
Jethro Tull
4.33 | 1950 ratings
AQUALUNG
Jethro Tull
4.16 | 1055 ratings
SONGS FROM THE WOOD
Jethro Tull
4.22 | 147 ratings
ST. RADIGUNDS
Spirogyra
4.18 | 247 ratings
ALTURAS DE MACCHU PICCHU
Jaivas, Los
4.16 | 246 ratings
GRAVE NEW WORLD
Strawbs
4.13 | 470 ratings
RED QUEEN TO GRYPHON THREE
Gryphon
4.13 | 420 ratings
FIRST UTTERANCE
Comus
4.15 | 233 ratings
HERO AND HEROINE
Strawbs
4.14 | 167 ratings
MICE AND RATS IN THE LOFT
Jan Dukes De Grey
4.11 | 245 ratings
THE HAZARDS OF LOVE
Decemberists, The
4.04 | 920 ratings
STAND UP
Jethro Tull
4.30 | 53 ratings
ERWARTUNG
Eden
4.02 | 1095 ratings
A PASSION PLAY
Jethro Tull
4.15 | 96 ratings
EZEKIEL
Itoiz
4.13 | 102 ratings
BELLS, BOOTS AND SHAMBLES
Spirogyra
4.01 | 864 ratings
HEAVY HORSES
Jethro Tull
4.56 | 24 ratings
LUCAS
Araujo, Marco Antonio
4.00 | 866 ratings
MINSTREL IN THE GALLERY
Jethro Tull
4.10 | 115 ratings
HÖLDERLINS TRAUM
Hoelderlin

Prog Folk overlooked and obscure gems albums new


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

A CANDLE FOR JUDITH
Way We Live, The
HAUL AR YR EIRA
Pererin
ODGIPIG
Sindelfingen
THE FLIGHT OF THE PHOENIX
Sad Minstrel

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Latest Prog Folk Music Reviews


 Stormcock by HARPER, ROY album cover Studio Album, 1971
3.98 | 146 ratings

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Stormcock
Roy Harper Prog Folk

Review by SteveG

3 stars As a long time Harper fan, Stormcock is an incredibly frustrating album to me. It remains rooted, by Harper's own volition, in a purist folk asthetic that Harper was dead set against abandoning at that time, and I feel the album suffers because of it.

Harper is indeed the uncompromising artist that was so revered by Jimmy Page and Robert Plant, as the album predominately features just Harper's acoustic guitar and (multi tracked) vocals, but I feel that it's exactly this lack of compromise that roots the album in obtuse Dylanesque lyrics (it difficult for the uninitiated to realize that the song The Same Old Rock is about the evils of organized religion) and a monotonous feeling of sameness. Dare I say it, the man just takes himself too seriously on this outing. The gravitas of this material threatens to pull Stormcock under due to it's shear weight. It's far from a cathartic listening experience because Harper, for example, is focused on telling how bad the world is to a returning soldier, in the song One Man Rock And Roll Band, without ever offering constructive solutions.

Taken within the context of other albums released in 1971 such as Aqualung and Fragile, Stormcock was viewed as an eccentric folk rock album with "heavy" lyrics, no matter how indecipherable that they were at times.

It's evident to me that Harper was haunted by the ghosts of his contemporaries, such as Bert Jansch and John Renbourn, of whom he shared a residence in the popular Soho folk club The Cousins, and that any flight of rock fancy added to this music would have simply been an unforgivable act of folk purist betrayal.

It's only guest guitarist Jimmy Page and arranger David Bedford that adds much needed variety and drama to the album and rescues it from it's narcoleptic daze. Page, first, with his stunning coda and guitar interplay with Harper on The Same Old Rock, and then Bedford, by turning album closer Me And My Woman into a stunning finale by injecting the song with a deft mixture of baroque and avant-garde orchestrations that gave this song a much needed cinematic scope that's absent on the opening track Hors d'Oeuvres and the afore mentioned One Man Rock And Roll Band.

The fact these four lengthy and incredibly plodding songs (which make up the album) have an immediate tendency to overstay their welcome is another sign that monotony permeates Stormcock.

Stormcock is an iconic album in the Progressive Rock canon, but one that is certainly cut out for specific listeners. 3 stars.

 Jack Orion (w/ John Renbourn) by JANSCH, BERT album cover Studio Album, 1966
3.55 | 5 ratings

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Jack Orion (w/ John Renbourn)
Bert Jansch Prog Folk

Review by Progfan97402

5 stars OK, so I own the 1970 American version on Vanguard (same label that brought you Joan Baez and Country Joe & the Fish), so this was released some four years later, with a totally different cover (a 1970 picture of Bert Jansch on the cover) and the songs switched around. This is without a doubt my favorite folk album ever. This is straight-up folk, not even folk rock, but even here you can hear elements of what would become the Pentangle, which comes as no surprise, given he and John Renbourn had released albums under their names and together prior to the Pentangle. Here you get "Black Water Side", much talked about, especially because that was the basis for Jimmy Page on Zeppelin's "Black Mountainside", but then it was actually a traditional folk song, but make no mistake the guitar picking from Jansch, and hearing that again on Zeppelin's first album. There's Ewan MacColl's "The First Time Ever I Saw Your Face", which he did with wife Peggy Seeger, and later on in 1969 by Roberta Flack (which became a big hit for her in 1972). Jansch's version is all instrumental, though. "Pretty Polly" is a nice folk song, plus you get another version of "Nottamun Town", which many of you should be familiar with through Fairport Convention's second album What We Did On Our Holidays (or simply Fairport Convention in the States on A&M, with a different cover, not to be confuse with the self-entitled debut that was released in Polydor in the UK, but Cotillion in the US). The title track is amazing, a great folk epic. If you know the version of the Pentangle's Cruel Sister, then you'll notice this one is at a much faster tempo, and half as long. If you didn't care for the slower pace of the Pentangle version, you'll like this one much better. Might not be quite prog folk here, it was 1966, after all, but a real enjoyable folk album!
 Open The Door by PENTANGLE, THE album cover Studio Album, 1984
3.67 | 14 ratings

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Open The Door
The Pentangle Prog Folk

Review by SteveG

3 stars Fifteen years is a long time for a follow up album, but Pentangle's 1984 reunion album Open The Door, while not a direct follow up to the group's 1969 pinnacle Basket Of Light, is just that.

Basket Of Light was immediately followed by three disappointing Pentangle studio albums, Cruel Sister, Reflection and Solomon's Seal, that went away from the group's original folk/blues/jazz fusion songs and concentrated instead on traditional folk tunes or originals that were in the same vain.

Reasons for this are speculative, but it's safe to assume that Bert Jansch's displeasure with the treatment the band received by both it's record label and it's then manager that was in sharp contrast to that of fellow Pentangle guitarist John Renbourn was a key factor. Further differences in the two guitarists playing styles and changing musical preferences led to the Open The Door reunion album being recorded without Renbourn (who decided to pursue a music degree), with Mike Piggott drafted in to replace him. Piggot is also an accomplished electric guitarist as well as an excellent fiddle player.

The result is that Open The Door, while still lacking in overt jazz references, is extremely fresh sounding, as if the reconfigured group was shot with a much needed dose of enthusiasm. The album is, ironically, nearly bracketed by two traditional folk songs with much of the newer material placed in between.

Standout tracks include the trad songs Open The Door and Yarrow, with originals like Dragonfly, Child Of Winter, Lost Love, Sad Lady and Taste Of Love revealing once again solid songwriting and execution from this once venerated group. These songs are again in the folk vain, but still feature a bluesy undercurrent, while closing track Street Song lets double bass great Danny Thompson and drummer Terry Cox cut loose to do their jazz thing one last time, as this would be the great rhythm duo's last album together. Long time original members Jacqui McShee, Thompson, Cox and Jansch are all in fine voice or playing ability and this album features the welcome return of Jansch's familiar string snapping playing style that was such a fixture and trademark on the band's first three classic albums. Piggott adds tasty low volume country style electric guitar licks at times, and his fiddle playing is meant to invoke mood and atmosphere and never strays into a Fairport Convention foot stomping "hoe down" style.

Open The Door is a refreshing reminder that Pentangle were a world class band and deserved their formally exalted reputation. 3.5 stars.

 Saltarello by MAGICFOLK album cover Studio Album, 2015
5.00 | 1 ratings

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Saltarello
Magicfolk Prog Folk

Review by tszirmay
Special Collaborator Crossover Team

— First review of this album —
5 stars Once upon a time, there was a group of musicians who openly embraced the medieval traditions of minstrels playing music with gentle vibrancy, and infused a fair amount of magical tendencies. They called themselves Magicfolk. Led by multi-instrumentalists Michelle and Ben Glover, the prog-folk tradition lives on mightily, composing original material as well as new readings of traditional themes. A merry cast of guest players adorn the rich compositions, including my good friend Colin Mold on guitar, bass, mandolin and violin. "Saltarello" is their third release and a landmark within the prog-folk universe, loaded up with vibrant instrumental reels that scream out their Brit/Celtic heritage, voice-propelled ballads that conjure up images of raconteurs and troubadours and even a full-blown epic prog-rock finale (Babylon) that yearns for even more distant adventures. Michelle Glover's voice has a highly melodic tone that convinces immediately and the arrangements are rich and stimulating, within a kind of complex simplicity that is utterly endearing.

Well within the glorious treasure chest of other prog-folk masterpieces such as Minimum Vital's "Sarabandes" and the recent "Pavanes", as well as works by Shine Dion, Blackmore's Night, Bededeum, Gian Castello, Merlin Bird, Motis and even Loreena McKennitt, this tremendous album is a pure joy to listen to, even as gentle background music in conducting daily activities. The musicianship is stellar, passionate and, well ? magical! The songs are complementary to all styles, a wide variety of moods and styles such as the Byzantine/Middle Eastern influences that are obvious on tracks such as "Kozanis" and "Mekhutonim Tants". Instrumental intermezzos such as "Maggie in the Woods", "Parson's Farewell", "Horses Brawl" and the opener title track all wink at classic folk mannerisms and are instantly gratifying. Then contrast all that splendor with energetic and hypnotic folk vocal gems such as the flute-driven "Dance of the Honey Bee", the sensational "Beltaine (Calin Mai)" and the rollicking and rocky "Bedlam Boys".

"Babylon" is a six minute extravaganza that is perhaps closer to British band Iona, a vocal-led musical adventure that conjures sonic images of the Holy Land and beyond, a historical voyage that reeks of coffee, sand, cardamom and dates, a bizarre bazaar of flutes, mandolins, violin and a dual guitar barrage that evokes khamsin-like winds, a thoroughly ethereal trip into the faraway fantasy of the past.

The artwork conveys the unpretentious loveliness that the music contains, a lush, vibrant, joyous and exalting collection of wondrous music. When your mood shifts away from the tectonic shelling of prog-metal and various other purveyors of athletic heaviness, Magicfolk will heal your weary bones and aching muscles. A stunning surprise that deserves a wider audience.

5 enchanted vernaculars

 Of Wondrous Legends by O.W.L. album cover Studio Album, 2008
4.00 | 2 ratings

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Of Wondrous Legends
O.W.L. Prog Folk

Review by kenethlevine
Special Collaborator Prog-Folk Team

4 stars Most "lost classics" at least had their day to be judged by more than just greedy capitalists, although one could argue that many of these received so little exposure and promotion that they were essentially deep sixed until the CD/MP3 era. But here before us we have an unloved and roundly rejected psych-folk offering that sat dormant for 37 years in the undignified time capsules of dusty attics and thrift stores...until its accidental discovery by someone with enough interest and influence to right earlier wrongs.

O.W.L is really writer, singer, and visionary Stephen Titra and his Chicago-based collective of skilled musicians formed around 1968, who performed live at local venues for several years. Titra's influence was more ancient Western European than American midwestern, so even the polished wee hours studio sessions of 1971 failed to impress some of the eminent record labels of the day, and the tapes languished. I'm not saying this isn't of its time, but it also seems so self contained, in its own atmosphere in which sound waves do not necessarily adhere to the laws of physics or memory. The tasteful vocals, flute, string, and keyboard arrangements exude both fragility and resilience, and a faith in themselves to weather the coming decades of isolation.

Most of the songs here are on the mellow side, with Olde English folk influences, the best of these being the trad-influenced "Tale of the Crimson Knight" and the hypnotically astounding "On the Wings of Gabriel". Of the 2 or 3 uptempo numbers, "Midnight Carnival", at 8 plus minutes, would be of most interest to prog folk fans, with its shifting phases and eerie motifs, but the bombastic "Everyman and the Philosopher King" is equally impressive.

Several otherwise simple folk tunes are embellished by expressive bass and jazzy electric piano, notably "Be Alive" and "Breton Landscape", both of which refuse to choose the road well travelled with their warm melodies. For points of reference if not outright influences, I would look to the mellow side of early KING CRIMSON as well as PEARLS BEFORE SWINE, TIR NA NOG, MAGNA CARTA, SIMON AND GARFUNKEL, NICK DRAKE, FOREST, FAIRPORT CONVENTION, and STRAWBS.

Those into prog folk or early pastoral psych music would be wise to pick up the sole recorded work of O.W.L.

 Todos Juntos by JAIVAS, LOS album cover Studio Album, 1972
3.24 | 28 ratings

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Todos Juntos
Los Jaivas Prog Folk

Review by Hannibal_20

3 stars First of all I want to clarify that this version in ProgArchives is not the original version of the album, whose original name is "La ventana" (the window), the original Chilean version included only the following tracks. Lado A 1. "Marcha al Interior del Espíritu" ? 2:16 2. "Mira Niñita" ? 6:57 3. "Todos Juntos" ? 5:52 4. "La Quebrá del Ají" ? 4:43 Lado B 1. "Ciclo Vital" ? 10:03 2. "Los Caminos que se Abren" ? 9:40 3. "El Pasillo del Cóndor" ? 0:25

Many different versions was made, for Chile, Argentina, and for the rest of the countries, which were edited in different years, adding themes from singles, the PA version is the most complete of all.

Clariefied this, lets start. (considering the order of the PA version)

"Todos juntos" (La Ventana) it`s a very important work in Los Jaivas career, of course they musically improved very much from their experimental first work "El volantín", but not just that, in this album we can found very emblematic songs to Chilean music, this album is the one that made this band known in Chile.

Despite having a real advance in musicality about their previous job, I think that the real merit of this album is that it came to trying to appease a political, and social division among many Chileans, THIS MEANS THAT, IF WE LOOK THIS ALBUM ONLY WITH PROGFANS EYES WE WILL NEVER DISCOVER ITS TRUE VALUE.

For example, the first theme: "Marcha al interior del espíritu" repeated constantly and insistently the phrase "seamos amigos, seamos hermanos" (lets be friends, lets be brothers) is a very simple song, but it is full of the joy of Los Jaivas. An almost childlike joy, this song gives way to a more serious composition, "Todos juntos" (All together) musically is a huayno (Andean folk rhythm), and, a curious thing, this huayno is the first one played with a battery of drums ever registered). It has a short flute introduction and begins the song, that includes many short electric guitar solos, flute solos, and many percussion at the end. The lyrics constitutes the statement of principles of Los Jaivas: unity, brotherhood, tolerance, this statement of principles is what they have supported from the beginning to the present day, also this song is more than just a song, it has become an anthem, known by all Chileans ("Todos juntos" is taught in schools from an early age).

"Mira niñita" is a very well known Los Jaivas song in Chile, it's very emotional, starts with acoustic guitar and xylophone, the voice of Gato Alquinta is tender, then comes an instrumental development that increases the intensity of the song including electric guitar, charango (Andean string instrument) excellent piano lines and a very good flute solo. Then, after 2-3 minutes restarts the vocals being accompannied for all the last elements but this time also with epic kettledrums to reach the final.

"Los caminos que se abren" is the first incursion of the band in the symphonic sound, the result was not brilliant but it is at least decent. This theme is fully instrumental, the flutes that sounds accompaining the piano are "tarkas"(Andean flutes present on several festivals in Peru, Bolivia and northern Chile) fuzed with electric guitars, al this things provides a psychedelic atmosphere to the theme, but it is and somewhat monotonous and repetitive, especially during the first half. the theme becomes more interesting with the entry of the symphonic instruments: cellos and a bassoon, also a violin solo. this piece tries to be dramatic and spooky, I'm not very sensitive to such sensations, so I couldn't tell if the objective of the theme was met.

"Indio hermano" (Brother Indian), is a song that doesn`t belong to the original "La ventana" album, it is taken from 1973 single "Indio hermano / Corre que te pillo". Despite not being a progressive song, it is an excellent fusion between rock and folk sounds, in this theme, we note again the indigenious sense of the band.

"Ayer caché" were taken from the side A of the single "Ayer Caché"/"Todos Juntos", it's a bolero (not the classical music bolero, but a Cuban romantic rithm) it's a`nice song but I don't think does not seem to be musically very interesting, specially for progfans.

"Ciclo vital" is very experimental, the percussion its constituted mainly by kettledrums, also has several flutes (ocarines, sweet flutes, quenas) dramatic piano lines, I think this theme but its very monotonous, and the the constant sound of the kettledrums can be annoying.

"La Quebrá del ají" is one of my favorite tracks on this album, is a cueca (cueca: a type of Chilean music characterized by a particular rhythm and melodic structure), but in this case Los Jaivas were innovative, it is the first cueca-rock of the band (I don´t know if it is the first cueca-rock ever, but I think probably it is), I found this song very original the first time I heard it, its lyrics, its rhythm and fusion, and currently it is a song that I have much affection, although it may be out of progressive rock fans' interest.

"Corre que te pillo" taken from the single "Indio hermano / Corre que te pillo" is the second symphonic theme of the band, an instrumental malambo (malambo: Argentine folk dance with a particular rhythm), this theme was republished in 1983 on the album "Aconcagua". Non-symphonic version of 1982 is considered by the fans of Los Jaivas as the usual version. The original version is very good, very good melody, good percussion, the accompaniment of violins, piano lines and an excellent electric guitar solo in the end, however, it has a very aged sound and eventually we discovered it was far outweighed by its reedition, which includes an amazing drum solo by Gabriel Parra.

"Cuero y piel" is another track that does not belong to the original "La ventana" LP, originally Side B of "Mira niñita" single of 1972, it´s just pure percussion, I think this theme will not have any interest to prog fans, including me. Finally "Pasillo del condor" it's a 25 seconds farewell, it is just a pure folk nice short piece.

This album, musically has good and bad moments, but it is one of the most significant albums in Los Jaivas career because of its history and its meaning, A curious fact: Chilean government approved a project that would provide technical and monetary support for the transcipcion of this album and "Alturas de Machu Pichu" album to official sheet music, each drum, each plate, each music note with the aim of preserving the national musical heritage. regards.

 In The Round by PENTANGLE, THE album cover Studio Album, 1986
3.54 | 10 ratings

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In The Round
The Pentangle Prog Folk

Review by SteveG

4 stars And now for something completely different.

Well, perhaps just a bit different. This reconfigured version of the British band Pentangle sees the departure of stand up bassist Danny Thompson replaced by guitarist Bert Jansch's friend Nigel Portman-Smith on electric bass, as the group exercises their penchant for American Country and Western music by creating some great country songs of their own.

What Pentangle only hinted to in the past on covers of such songs as Cold Mountain and Will The Circle Be Unbroken, comes to full fruition on bluesy country tinged originals like this album's opening track Play The Game, Sunday Morning (which has lyrical echoes of the Johnny Cash classic Sunday Morning Coming Down) and the sublime Chase That Devil Away.

Bert Jansch, strangely, as he was by his own account deeply in trouble with alcohol abuse around this time, is in extremely fine voice and penned three his finest and most introspective songs The Open Sea, The Saturday Movie and the fantastic Let Me Be. Jansch's tunes go away from the country vibe of this album and add an air of disunity, but also a welcome respite.

Vocalist Jacqui McShee absolutely shines in singing this material and is still a revelation. Drummer Terry Cox forgoes his more percussion based playing style for that of a straight up but effective rock drummer and meshes perfectly with Portman-Smiths fretless burping bass style.

The only down side that I can find with In The Round is two pedestrian covers of the traditional folk songs She Moved Trough The Fair and Suil Agrar, which I feel were done to keep their hard core folk fans happy.

Perhaps this album is a bit of a guilty pleasure for the Prog-Folk fan, but it's irresistible ear candy and quite a refreshing return to quality from a band that had been plagued with personal, as well as professional, problems up until this point in their on again, off again career. 4 stars.

 Harpoon by GRIMM, LARKIN album cover Studio Album, 2005
2.60 | 3 ratings

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Harpoon
Larkin Grimm Prog Folk

Review by TornadoTongue

5 stars Don't listen to the other reviews, there seems to be a strange thing going on here, this album is marvelous. Any one who enjoys odd musings, lingering and psychedelic sounds will love Larkin's music. Her lyrics are intriguing and powerful and she has a wonderfully warm and engaging voice. She's very underrated in my estimation.

Definitely give this album a listen if you like the more odd side of folk music and want something a little different, also you must try her other albums as they are all solid, try "Parplar" next however, that one is one of my favourite albums ever.

 Del Volar de las Palomas by BLOPS album cover Studio Album, 1971
2.26 | 10 ratings

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Del Volar de las Palomas
Blops Prog Folk

Review by Hannibal_20

2 stars One feature that distinguishes the folk rock of Los Blops from the folk rock of jaivas and Congreso, is that in Los jaivas, and in the more folkloric period of Congreso (1975-1977) one can say, this is a 'Malambo', this is a 'Cueca', this is a 'Huayno', this is a 'Trote', you can identify and catalog the pieces according to their melodic and rhythmic structure, with the difference that these structures are altered, fused and executed with electric instruments.

With Los Blops, this does not occur, their first two albums are very acoustic, and in This album an folk atmosphere can be noticeable, however this is not given by particular melodic and rhythmic structures, but by a way of playing the guitar that seems inspired by many groups and singers of Chilean folk music as "Pedro Messone", "Los cuatro de Chile", "Patricio Manns" and especially "Victor Jara" and by the inclusion of certain folk instruments such as the accordion or the charango.

In fact, the style of Los Blops was undoubtedly influenced by 'Víctor Jara', they lived with him for a while, even collaborated in the performance of several songs from his album "El derecho de vivir en paz" (the right to live in peace) which it was very relevant within the ambit of the broad and significant musical/social trend known as "the new Chilean Song". This influence can be seen mainly on this record.

This album, in my opinion, is not necessarily a step backward for Los Blops musically, but neither represents a very important step, and I expected more from him, maintains the strength in his message through their lyrics, but it's an album too "songbook", I miss the good amount of instrumental pieces from the first album, therefore I feel it is even more hippie than the previous, too much message of humanity, life, nature etc, which becomes too repetitive in the long run .

Nor are we talking about a very valuable or worship album within the Chilean music, is not like his predecessor, although it contains wonderful themes and key songs of the band like "Manchufela" and "Esencialmente así no más", and songs not so key to the band but equally good as "Tarde" and "campos verdes", as album, fails to have the significance or historical value of the previous one.

in terms to progressive rock, this album does not have anything like that, it's pure folk rock. Unlike "La Ventana" (Todos Juntos) of Los Jaivas, which already reveals a progressive trend in songs like "Caminos que se abren" or "Corre que te pillo", which then would lead to a gradual development of this style in the group, the blops, had in his album "Locomotora" (1974) an unexplainable and fortuitous turn of 180 degrees towards progressive rock, because before that, they had given no indication of it.

Unfortunately, I must say, I feel that, despite having very beautiful themes that deserve to be remembered, this album seems generally quite "forgettable", is valuable, but not as much as other albums of Los Blops, and it is not a progressive rock album, for all that I think the more appropriate rating for this album is a definite 2/5, sorry Blops.

 Contea Dei Cento Castagni by FAVERAVOLA album cover Studio Album, 2006
3.87 | 36 ratings

BUY
Contea Dei Cento Castagni
Faveravola Prog Folk

Review by andrea
Prog Reviewer

4 stars Faveravola come from Treviso and began life in 1998 on the initiative of Giancarlo Nicorelli and Adriano Durighetto. In the seventies both founder members militated in local bands that never had the chance to record an album, bands such as Diamond Red, Dinoterium and Dawson. After a long hiatus they decided to start playing again to make their musical dreams come true and so they gathered around them a new group of musicians to work on old and new ideas. In 2006 Faveravola finally released a debut album on the independent label Lizard Records with a line up featuring Giancarlo Nicorelli (keyboards, narrative vocals), Adriano Durighetto (bass), Paolo Coltro (drums, percussion), Alessandro Bonotto (acoustic guitar), Franco Violo (vocals), Consuelo Marcon (violin) and Gianluca Tassi (electric guitar) plus some guests such as Luca Boldrin (flute), Ivan and Nicola Durighetto (recorder) and Tiziana Carraro (vocals). The result of their efforts is an interesting concept album that tells of a metaphoric journey through the dreamy land depicted on the album cover and in the booklet by Marta De Martin. The overall sound is soft and folksy and conjures up calm, pastoral landscapes while the enthusiasm and passion of all the people involved in this project shines through...

The dreamy opener "L'antefatto" (Preamble) introduces the subject matter and sets the atmosphere. Every now and again it reminds me of Procol Harum and features narrative vocals explaining that what really matters in a man's life is his imagination. You have to follow your dreams, fighting for your freedom and against every form hypocrisy and conformism... All in all, who can be sure that fantasy never meets reality?

The slow paced "Lo specchio" (The mirror) tells of a man who looks at his face in a mirror... What is left of his dreams? Suddenly he feels his soul flying away, his reflected image breaks through the mirror and he's in some way catapulted in a fairytale world generated by his own dreams. The following "La Contea dei Cento Castagni" (The County of the Hundred Chestnut Trees) describes this dreams that come true with calm tones and soft organ passages that every now and again remind me of the liturgical atmosphere of a Catholic mass post Second Vatican Council. The man is now a knight who has to defend peace, love and justice...

Next comes "La foresta degli elfi alati" (The forest of the winged elves) where the rhythm rises and the music conjures up a light sense of mystery... Now the knight is riding in his new world and has to cross a forest where every leaf is an eye and an ear of the strange inhabitants of this magic place, the elves. These creatures warn the knight about the dangers that he'll find along his road, he has to cross an old gloomy world to meet his destiny, the real world will set ambushes and every sort of waylays... Only his generous heart and his honour can save the knight! The following "L'incontro" (The meeting) features a Medieval flavour and could recall some works of the Italian minstrel Angelo Branduardi. There are male and female vocals interpreting a dialogue between the protagonist and his soul. After the breakaway, the protagonist's soul comes back with words of hope and a particular gift, her eyes on the wings of the wind...

"Il sogno" (The dream) could recall Le Orme from the pre-Collage period. The music and vocals describe the gratitude of the protagonist for his new world where he can live his dreams. His voice soars like a prayer towards the sky... Next comes the long, slow "La Piana dei Temoli del Livenza" (The plain of the graylings of the Livenza River) that features lengthy narrative vocals and describes a surreal dialogue between the protagonist and the Livenza River that speaks words of wisdom and hope. The voice of the river here is interpreted by the special guest Aldo Tagliapietra, historic member of Le Orme.

The epic "Lo scontro" (The fight) describes in music and lyrics the fight between the protagonist and the enemies that are threatening his new realm: the ferocious, merciless Hypocrisy and Infamy... The fighting is hard, the sword of the knight breaks and his injuries seem to be lethal... But suddenly his sword comes to a new life, his injuries generate the notes of a powerful music that hits hard into the heart. Time stands still, the enemies are defeated and the dream lives on...

"Danza di Messer Reale e Madonna Fantasia" (Dance of Mister Reality and Lady Fantasy) is another track with a strong Medieval atmosphere that describes an imaginary dance between a clumsy, armoured knight and a beautiful lady, the metaphors of Reality and Fantasy... They dance all night long, until dreams and reality get mixed together... Then comes the melodic ballad "Leggenda della foglia, della vita e del vento" (Legend of the leaf, of the life and of the wind) where life is compared to a falling leaf, carried by the wind. Only if you will learn how to listen to its music that leaf would land on your hands and will live on...

"Neorinascimento" (New rebirth) is a nice ballad with a positive feeling that recalls Le Orme and that conjures up the image of a mother walking hand in hand with is little child... The knight now understands that building a new world based upon love is not impossible: an idea that once was nothing but a dream could come true... The dreamy closer "La strada ai confini di..." (The road on the border of...) invites you to search for your own way to the magic world of dreams: it could be a hard, long journey but you have to be brave and march forward along the borders of your imagination to reach your destination... There you'll meet the knight and his lady, it is there that you will discover if this magic country is just dream or reality...

On the whole, a pleasant album for Italian prog lovers who who prefer soft, calm atmospheres

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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
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AIGUES VIVES Germany
AKTUALA Italy
NICU ALIFANTIS Romania
ALMÔNDEGAS Brazil
AMANITA Italy
AMAROK Spain
AMAZING BLONDEL United Kingdom
AMBER United Kingdom
AN DRO Germany
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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
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ATMAN Poland
AUCAN Argentina
AVALANCHE Netherlands
AVE SANGRIA Brazil
AZAHAR Spain
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BANDA DO CASACO Portugal
A BARCA DO SOL Brazil
BARR Sweden
TOMAS BATISTA Argentina
BAYON Germany
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BERNARD BENOIT France
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BLOPS Chile
BLUEHORSES United Kingdom
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BRAN (BRÂN) United Kingdom
BREAD LOVE AND DREAMS United Kingdom
BRECHE Canada
PAUL BRETT United Kingdom
BRÖSELMASCHINE Germany
BUCIUM Romania
TIM BUCKLEY United States
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CÁLIX Brazil
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CANO Canada
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GIAN CASTELLO Italy
PHILIPPE CAUVIN France
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EDEN Germany
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ERROBI Spain
ESPERS United States
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