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Lucifer's Friend - Lucifer's Friend CD (album) cover


Lucifer's Friend


Heavy Prog

3.86 | 157 ratings

From, the ultimate progressive rock music website

Sean Trane
Special Collaborator
Prog Folk
4 stars L'sF's debut album cannot escape comparisons with many other superb hard prog- influenced rock of the era and namely Uriah Heep (the obvious link being singer Lawton) , but also Atomoc Rooster , and a bit Purple and Sabbath. But L'sF was a German band and it might be easier to compared this album withg early Birth Control , early Wallenstein , early Jane , early Frumpy etc.... I think you got enough names to get a good idea on how this albums sounds.

But I will spend time trying to make you understand on how the album feels: there is a real sortof enthusiasm , joie de vivre and the funtheyu had on this album is really contagious that it is the antithesis of the grim artwork sleeve. To tell you the truth , I had seen this album from the mid-70's onward in record shops , but this ugly cover never pushed me to discover the band until fairly recently. The opening track with manic and frantic yelling is really perking your attention and the communicative power of the tracks is impressive as are other superb tracks such as Toxic Shadow and Everybody's Clown as well as the eponymous track (funny the Sabbath did almost 12 months before this album a track that that had for title the same as their name and debut album) all reveal excellent ability of the musos at their respective instruments ( but I will point out bassist Horns as especially impressive) and their the feeling however the Satanic name is not somber at all (Black Widow's debut album was very up and joyful also unlike Sabbath's debut album) that personally I never saw this band as Satanic whatsoever .

The five bonus tracks , however are a little out of the context of the great debut album , (some of the titles evoking the third album) displaying correct but brassy rock'n roll except for Satyr's Dance and Alpenrosen which are more in line with the album proper.

Sean Trane | 4/5 |


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