NIGHT ON BALD MOUNTAIN

'Night on bald mountain' was released in 1975 by the US band 'Fireballet'. The record, which was produced by Ex King Crimson Ian McDonald mixes influences and citations from 'Genesis', 'Yes', 'ELP' and 'King Crimson' together with their own compositions centered around the main theme of Moussorsky's 'Night On Bald Mountain', into a symphonic firework. Not unlike 'The Flower Kings' some years later , 'Fireballet' knows how to place a good citation or a 'In-The-Manner-Of' passage without getting too heavy or iconoclastic and combines them with interesting material.

'Les cathédrales', a dynamic track, starts with a heavy intro followed by a moody atmosphere supported by keys and cymbals. A moog line, and some Howish guitar lead into the main theme, build around an ELP (Tarkus) citation. A short instrumental passage for sax and distorted guitar leads back to the main theme, followed by a 'Genesis' citation ('Fountain Of Salmacis') , a quiet choir passage and ending with another 'Genesis' citation from 'Foxtrott'.

'Centurion''s theme is introduced by the Moog, reminding again ELP, followed by a guitar solo and a reprise of the main theme and ending with another ELP (BrainSalad Surgery) citation .

'The fireballet' an uptempo track, is dedicated to 'Yes', with a brillant 'Yes-like' mulitpart vocal arrangement, followed by 'Genesis' and a 'Ekseption' moods and ending with a classical march for acoustic piano, the best track on the record.

'Atmospheres' , a Tresspass-Genesis-like track builds up a moody athmosphere featuring the 12 string guitar.

Side two contains the long suite 'Night On Bald Mountain', build around the main them of the Moussorsky composition, and the weakest track on the record. It lacks the tension of the shorter tracks on the first side. The track starts with a citation of the Moussorsky main theme, followed by a long instrumental passage, that leads into the melody of King Crimson's 'Epitaph' (with different lyrics) another long instrumental passage including a sax solo, some Hackett & Howe guitar, a citation from 'Close To The Edge', a reprise of the 'Epitaph' theme and ending with some heavy Uriah Heep organ.

A brillant record and a lesson in Prog at the same time!