CRESSIDA

Great UK outfit...one of those "forgotten" progbands from the UK. Smooth vocal....fine guitaring... laidback themes.....wonderful tunes. This is laidback prog in its prime !!! OOohhh just listen to that keyboard.......the sheer brilliance of the deliverance....great stuff!!! Any pop prog freak ....should NOT be without this gem !! If you stumble upon this great item...grab it!!! And then wish you will meet their second coming !!! G R E A T S T U F F !!!

Songs don't have to be lenghty and complicated to fill the musical needs of a prognick, as Cressida is able to show here. The dreamy hammond sound of Peter Jennings and the delicate voice of Angus Cullen make this album a worthwhile listening. Highly recommended.

Cressida's short career will be unfortunately unnoticed, despite having a lot of trumps in their hands. Just two albums, but both fetching small fortunes (partly due to the fact that they were released on Vertigo's Swirl label), but the music quality is simply excellent on both records although there are very notable differences between them. This first album came with a disturbing artwork that started out from a good idea, but somehow ultimately failed as the collage is rather amateurish, which is rather surprising given the Vertigo label. Actually sonically, Cressida defies easy description using other names, but if one has to try I would say a cross between Caravan, a jazzy Savoy Brown (with Chris Youlden around the Raw Sienna album) and Spring.

This first album is rather song-based (max-track length: just over 5 minutes and an average under the 4-min mark), but let this not deter you: their luscious organ-dominated sound is so gorgeous and the inventive arrangements on their pot-pourri influences are more than enough for the proghead's enthusiasm. Winter, the eponymous title track, Depression (which is anything but, really), Lights In My Mind (sounding like Hendrix's version of Watchtower), Spring 69 and Earthman, are the many highlights but overall, all of the 12 tracks are relatively even in quality. The singer has an excellent and unique voice timbre and all of those musicians are good. There is a rather peculiar happy melancholy throughout the album, and it is certainly a major part of its appeal.

A rather promising debut, and original enough to warrant the fourth star, Cressida's two albums are essential to early 70's-loving progheads

Among so many "Proto-progressive bands" from the late '60s/early '70s CRESSIDA was that one more similar and inspired too, by the MOODY BLUES. Other bands like FANTASY, BEGGAR'S OPERA, CIRKUS, and SPRING, produced successful albums in the same period. It's an organ-drive Proto-progressive, supported by the guitar, often with a "Mellotron-keyboard background", in the vein of early KING CRIMSON. Flute is used throughout. Recommended to the fans of such particular genre only, while every symphonic, fusion, or heavy-prog fan may decide to stay far away from this kind of stuff!! Make you choice!!

Do you like the 60's Grateful Dead? Iron Butterfly and Quicksilver Messenger Service? Cressida is an English band that seems to have one foot in the England and the other in San Francisco. I hear Genesis and early Yes as well as the aforementioned American groups when I listen to this album. The pastoral work from Genesis and Yes is here and so is the poppy, fuzzed out guitar and organ from the 'Cisco bands. Good stuff and definitely recommended if not essential!

Cressida is one of those groups that fell short of the greatness that was within its reach. Throughout the course of the two albums these guys cut for Vertigo in the early 70s you always get the feeling that a really great blockbuster of a prog track is coming up, but with the odd notable exception (the title track of the second album Asylum is absolutely superb), Cressida doesn't quite deliver often enough on its considerable promise.

Despite being released in 1970, the first album has a distinct 60s proto-prog sound (that isn't entirely absent from its successor either!). The songs, that are largely written by either guitarist John Heyworth or lead vocalist Angus Cullen combine a strong Moody Blues influences and touches of nascent jazz-rock but with a dominant organ sound (the "Moody Blues meets The Nice" description is a dismissive but not altogether innaccurate way of describing Cressida's sound). Keyboardist Peter Jennings and drummer Iain Clark (who would later join Uriah Heep) are probably the most impressive of the band's instrumentalists, but I'm not sure that the compositions always work in their favour.

You should be warned that this album starts off with its least impressive songs. The 60s pop crooning and the faux art feel of To Play Your Little Game and Winter Is Coming Again sound pretty dated, and might tempt you to give up on Cressida ... don't, though! Because there is real quality in the quartet of songs at the centre of this album ... the sprightly pysch-jazz title track, Home And Where I Long To Be (which has Jennings on harpsichord and a lead vocal from Heyworth that sounds rather like Cullen!), the power jams of Depression which will absolutely thrill fans of the likes of Colosseum and One Of A Group which veers from classical organ to psych guitar freak out and jazz-waltz piano in just over three minutes.

Elsewhere, there's nothing to scoff at in the rocky Lights In My Mind (well aside from the moments that recall All Along The Watchtower!), the acoustic guitar jazz of Time For Bed, the mournful reflective folk of Spring '69 and the seemingly aimless, but actually quite subtle Down Down. I still get the feeling that the overpowering 60s vibe will ensure that Cressida actually appeals to psychedelic rock fans more than the hardcore symphonic crowd (not that the two are mutually exclusive, of course!) and I repeat my assessment that these guys should have done more than they did. But despite not being a long lost gem, Cressida is still a very nice proto- prog album. ... 62% on the MPV scale

Debut board released in 1970 "Cressida". This work that looks like DOORS is a link to the next work. There are a lot of one of music to show the composition steady while short. The melody with a peculiar, pitiful feeling has been established. A classical accent is good. There is a little loose impression as an album though it is indeed variegated music, too. It fills with the peculiarity to any tune and lonely Can. However, it is a work really like to DOORS.

Although this album is not as brilliant as the follow-up, Asylum, this is a very good album. The tracks are short (well, for a progressive band anyway) but that doesn't mean the music isn't adventurous or progressive. The music is like a transition between the sixties and the seventies. The tracks are all very melodic and sweat (which I don't mean in a negative way). There are influences by The Beatles and by the Canterbury sound. What really stand out in the music of Cressida are the beautiful voice of singer Angus Cullen and the warm sound of the organ (played by Peter Jennings) and at times there are some good fuzzy guitar solos. All in all a versatile album, with pop, folk and rock.

I don't know about anyone else...But the first thing I said when I heard the first few songs were....Caravan?

Though there is few original aspects of this band...I find them to be a very good "wanna be" Caravan band.

"To Play Your Little Game" is my favorite on the album, The verse lyrics are all very lame...I try not to listen to them...The chorus has very nice lyrics though, and the music is very....good....and Carvanish

I mean this album isn't amazing...but it's cool to have.

Four and a half stars really! I've been meaning to write about this for awhile, having heard the album many times and not really to be sure of where I stand on it. Cressida were short lived and all but ignored at the time, but when progressive/proto-prog rock became collectable they were one of the first bands to gather praise. Musically, Cressida's first album is much, much the better of the two- a sort of minor masterpiece or "flawed" masterpiece. The music derives much from folk, jazz, classical, British pop, and even a bit of subtle psychedelic influences with the guitar and organ interplay the strongest point. The rhythm section are also brilliant, changing time signatures and grooving along with ease. Only problem is that singer Angus Cullen possessed a rather monotone and grating voice, better augmented by harmonies and a bit monotonous when solo. Despite his seeming tone deafness and other short comings he managed to be a convincing voice on the album and gave the group, along with the organ work, a slight Canterbury flavour (like Caravan). I would say that "To Play Your Little Game," "The Only Earthman In Town," "Depression," and "Tomorrow Is A Whole New Day" are the best tracks here, although the others are also excellent. Whether this album is worth the investment an original would cost is another matter, but it does need to be in your collection at least as a CD. Side One is markedly less slow moving than Side Two, there isn't really a "concept" to this album, but it flows together nicely with no embarrasing moments. Sometimes these records have very pretentious or even laughably bad lyrics, not here. The words are thoughtful, clever, and interesting. There is lots of organ including a fair number of organ solos, and also some fantastic guitar work. The harpsichord passages too are very appealing. The problem goes back to the vocals, not bad, but not in the league of Asgard, Argent, or Deep Feeling. Song lengths are thankfully short, devoid of the unfocused self indulgence of Cressida's second record. This album is a minor classic, to some a MAJOR classic. I enjoy it quite a lot in the right mood, and the tranquil nature of much of this record is pleasant to listen to. All told, one of the better records on Vertigo, maybe one of the best. I'm not a huge fan of most bands on the label, with the worst being DR. Z which is impossible to listen to. This album is a welcome change from the ordinary dull jazzy prog of most Canterbury groups, instead opting for the Moody Blues/Caravan melodic prog rock sound. A really good album definitely worth investigation.

The debut by mostly forgotten proto-Prog band Cressida was dominated by highly harmonic and easily approachable songs quite typical for bands from that era like Moody Blues or Procol Harum. Of course we're in 1970 and therefore it's not surprising that their sound still owns much to 60's flower power era. But this band incorporated already quite well some classical and also jazzy elements in their mostly solemn compositions rooted in the British folk tradition. All the songs presented here are pleasant more a kind of romantic, at times maybe a bit too pathetic ones and in some of them like "Cressida" even anticipate a slight touch of Canterbury. Dominating instruments are the Hammond and guitar, sometimes played acoustically but an occasional harpsichord adds a very nice baroque flavour. Vocals by lead singer Angus Cullen are very palatable and fit nicely into the music. Certainly one should not expect anything extraordinary here and I don't think this work can be considered an essential addition but anyway this album had been a remarkable debut by an interesting little known early Prog band. Their second (and unfortunately last) album had been ever better than this one which is nonetheless worth to be checked out by fans of Proto-Prog (***1/2 really)!!

For me this is the ultimate melodic Progressive masterpiece ! 12 amazing songs here..Brilliant melodies , great musicianship , haunting organ ,dreamy guitar passages with hints of jazz..And above all, Angus Cullen's melancholy voice that takes the listener to the realms of pure euphoria!His voice has got the colours of autumn and spring as he brings the songs to another dimension.It's hard to choose favourite songs , as every track is a precious jewel , but maybe I have a special weakness for "To Play Your Little Game" , "Cressida" ,"Home Is Where I Long To Be" , "Lights In My Mind","The Only Earthman In Town" and "Down Down". This album is really varied , with different moods and tempo changes but also fragile,delicate and so beautiful! For lovers of Spring,Fantasy,Caravan,Moody Blues this comes highly recommended! Pure magic..

If Peter Jennings' organ is the trump card of the Cressida sound, and it is, then John Hayworth's lead guitar is its deuce. For every impressive run and atmosphere on the Hammond, we have an aimless, or overlong and grating guitar solo. Take "Depression", which starts off as a lovely Moody Blues tribute and degrades quickly. Even when the organ comes back the magic is gone and all you have is an average passage. Angus Cullen's voice fits well with the music in general, but it disappears after a third of this song never to return. "Depression" is only one example of an all too common trend on this album.

The best cuts are those that showcase Jennings and downplay Hayworth, and where Cullen seems to be emulating the best of what the Moody Blues had been doing, such as "To Play your Little Game", "Home and Where I Long to be", and "Down Down". But it's all rather obtuse while not revealing any redeeming complexity.

When compared to other proto prog bands of their era, such as Beggars Opera, Gracious, and certainly Procol Harum, Cressida does not quite measure up. They do seem a bit of a darling among prog rock fans, and so I would classify them as overrated in spite of their minimal commercial success.

This short-lived British band made only two albums in the early 70's, both of which have gained some cult status typical of rarities. Well, I don't care much of the (vinyl) rarity aspect, these are well available on CD anyway, but I agree with fellow reviewer about some overratedness. They simply were in a minor league. But who knows how much they could have improved with a longer career...

Cressida's second album Asylum made a strong impression on me some years ago, and eventually I later bought this debut. I was disappointed because this is quite another kind of an album. Whereas Asylum had a lot of variety in the structure - including small-scale epic approach and instrumental sections - , here songs are more or less in the same vein, ie. tight, shortish and mostly upbeat songs. More like 'Proto-Prog' than 'Symphonic Prog'. But once you get over that, you find also this album quite enjoyable. Angus Cullen's Justin Hayward -type of vocals are again very nice (I'm NOT making other statements of the presumed MOODY BLUES similarity!), and the overall sound has aged charmingly. You hear a lot of mellow organ. The DOORS was my first association (actually only a certain part of Doors' repertoire, perhaps best represented on Waiting For The Sun album). Several associations can always be made but Cressida had a sound of their own. Anyway, I would have wanted more of the emotional and calmer side of music I found on Asylum. Maybe I'm still not familiar enough with this album to get rid of the sense of sameness between tracks. I'm giving this 2,5 stars, hesitatedly.

The cover art really doesn't work at all in the CD reproduction.

By the first listen the thing to be mentioned here is that Cressida's debut is deeply rooted in 60's rock and classic rock and thus it should be categorized rather as a proto-prog album than a symphonic prog one...Hints of bluesy rock of the 60's ,THE BEATLES as well as classic rock elements are obvious during the listening of the disc...But along with these rather unprog stuff you are in front of some fine art rock like the great organ work and also some symphonic arrangements...I would also notice as a minus that the whole album is very much vocal-oriented without allowing the music to delevop during the songs,although I can't overlook that Angus Cullen's voice is stunning and suitable to the band's music...Best tracks in my opinion are ''To play your little game'' and ''Tomorrow is a whole new day'' which are closest to the symphonic sound of the band...All in all just a good proto-prog album worth listening to but I have heard that their second one is much better so try that one instead...3 stars for me...

Very fresh debut album, I'm really glad to have discovered Cressida; pop can be interesting and proggy, indeed. The album comprises of a dozen well crafted, enjoyable progressive pop songs with distinctive sound and soft atmosphere. Folk, classical, psychedelic and jazz influences are also found here, but in rather small amounts. You might even compare the music to THE BEATLES, though this is more elaborate. The most similar album I can think of at the moment is SPRING' self titled album.

Standout songs are on the album's first half and include playful ''To Play Your Little Game'', jazzy ''Time For Bed'' and catchy ''Home And Where I Long To Be''. ''Depresion'' offers some really nice electric guitar work, followed by a rattling organ solo. Very good! In my opinion, second half of the album falls in quality, songs are slower and somehow get less of your attention, although remaining equally well executed; musicianship is really good here. The last song, ''Tomorrow Is A Whole New Day'', slightly improves the overall impression with it's soaring finale.

Organs are omnipresent and organ addicts will likely hold this album close to their hearts. There are also some nice piano melodies. Vocals are very pleasant, while the guitar is mostly acoustical with frequent electric (sometimes fuzzed and heavy) riffs and solos.

I'm very close to giving it 4 stars, but... maybe some other time.

There are tons of those unknown bands who released good albums in the early seventies. Usually, it is left to the Italian genre to have generated a huge amount of one album bands but this is a UK example. Not that ''Cressida'' only released only one record. They will go on for a second one, but still they will face a very short career.

When you listen to this debut, there are hardly little symphonic feel out here. Some fine psychedelia and upbeat stuff like ''Winter Is Coming Again''; but this is hardly what one can expect from the band.

Jennings is of course great on the keys and he is giving most of the good orientations to the band. I am saying so because when I am listening to the acoustic oriented ''Time For Bed'', I can't be thrilled with these jazzy moods.

Don't expect any epic here: each song is radio formatted unfortunately. It is quite strange to be mentioned. At the time of release, prog bands were rather writing epics than radio formatted music. But there were some exceptions as ''Cressida''.

This album is of course not bad at all: some fine mellotron, very much acceptable vocals and some genuine symphonic passages (''Cressida'') are to be considered. But to discover one highlight on this album is like the search of the Holy Grail. One might well seek for it, but no one will ever find it. Right?

If some reviewers believe that short numbers are fine, I belong to the ones who were (almost) born with side long epics. And I quite LOVE them. No sight of one here. Some fine moments of course are available (''Depression'') but none are grandiose IMO. Little symphony to be honest.

This is an album which aged with difficulties. It can hardly be considered as a precursory work. And since the band was very short lived, there is little question of this one being the source of great things to come.

Some good psychedelia, combined with great keys: this is what you can expect from this album. To consider this work as creative is definitely beyond my capabilities. Three stars with no problem because one is faced with pleasant and genuine music we love so much.

Well, I tried. A cardinal rule when listening to any progressive rock album is to attend to it closely and to hear it repeatedly. Only then will its true worth become evident. Any one-off and superficial listening so often ends in disappointment. I had high hopes for Cressida's eponymous album - it is one of those lesser known works from the 'Golden Age' of progressive rock which aficionados like to reference to show their knowledge beyond the obvious 'greats' of the period. Often, such albums compare with the best and demonstrate the vitality and depth of the genre. I thought this album would be amongst them but, alas, I don't think it is. It isn't terrible by any means - some of the Hammond organ work is subtle and resonant and a few of the songs are pleasant. But, despite attempting to listen to it carefully my mind kept drifting onto other things and I found myself paying more attention to a book, magazine or whatever. I think the problem is a lack of dynamics. Nothing really stands out apart, perhaps, from the final track that does attempt some grandeur to climax the album. I believe the second album is more convincing, but, as yet, I have not heard it so cannot comment. So my conclusion:.....it's ok, but nothing special.

In the late '60's and early '70's, I bought a lot of records "on spec", based largely on the album art. This album instantly intrigued me with its dark, surrealistic, and inexplicable imagery, and I was pleased to discover that the mood of the music complemented the cover art very nicely (and vice versa). I perceive a dark quality to much of the music on this album, thanks in large part to Peter Jennings deep and beautiful Hammond B3 sound (which is usually enhanced with a perfectly measured dose of reverberation). The songs are generally short (by prog-rock standards) but remarkably well-crafted, with strong melodies, plenty of interesting changes, and the occasional odd time signature, and there really isn't a throw-away track on the entire album. The musicanship is of a very high level throughout, with Jennings' keyboard work being the standout: his arrangements are excellent throughout, moving from single note riffs to deep chords and back again effortlessly, kicking the Leslie speaker in and out at just the right moments, and displaying an impeccable sense of dynamics. John Heyworth's solos have been criticized by some: he's certainly not the best lead player in the world, but I felt his solos worked very well within the context of the music and his acoustic contributions here are excellent (and overall, I would rate him much higher than John Culley, who replaced him on the band's second album). Angus Cullen's vocals are very well done (although the dry production makes them stand out in a very in-your-face way). Here and there I find moments that remind me of the Moody Blues, Procol Harum, and Caravan, but overall Cressida stand as a unique musical entity, and I consider finding this album to be one of my luckiest musical acquisitions. Although I'm not sure exactly where I would place it in the pecking order, this album is definitely one of my top 25 all-time favorites.

What do you get when you crossbreed The Nice with Caravan ? The debut album by Cressida.

The vocals are very much like Caravan anno the The Land In Pink & Grey. The moog and most of the rest is not too far away from The Nice. There is also a lot of Canterbury jazz hanging over this album too.

The result is pretty good. The songs are pretty sweet and short. Some of the moog is pretty viritous and tasty. In particular the final song Tomorrow Is A Whole New Day is excellent with it's hypnotic viritous moog hammering on in the background. The guitars is good too. The bass and drums are also excellent. The sound is excellent and befitting this music. The moog is the most dominating instrument here and the tasty use of it at this album is very endearing. I like this album, although it is not an essential album.

3.25 stars

I rate this a five after very careful consideration. Ultimately, the organ lines won out: this band has to be heard to be believed. Angus Cullen's vocals are warm, rich, and complicated, with an impressive amount of control, and Peter Jennings is a magician, weaving complex organ lines that seem, in the moment, effortless. Often compared to other early English prog groups (Fantasy, Gracious etc.), and likewise often intimated to be the least of this august company, I would argue the inverse. There is a competence of songwriting, a sense that is both holistic and powerful - putting on a Cressida album is, for me, an act of complete trust in a band. There are no moments of sudden mediocrity or forgettable filler. Consistency, coupled with some of the best lyrical work in early prog, elevate this the status of completely necessary music. Find it. Listen. Enjoy.

Interesting obscure little band from England that recorded two little known Lps in the early 70´s. Their sound surprised me a lot because it is labeled here as symphonic prog, while what I hear is the typical psychedelic rock of the late 60´s. There are no epics, only short songs that I can call proto prog at the most. Not bad at all, by the way. Very nice keys (mostly the Hammond organ sound you´d expect from a 60´s band, but there are also some nice harpsichord, piano and even a timid mellotron here and there). the group also had a very capable singer (Angus Cullen) and a fine guitarrist (John Heyworth, who also sings on one track). But it is clear that keybaordsman Peter Jennings who gives the band its best prog credentials.

I really don´t see why they became a kind of cult band among progheads, at least judging their work by their debut CD (I haven´t heard their second yet). Their style differs very little from more well known bands of the day, like The Moody Blues. Heyworth may have a little more jazzier side that brings the Canterbury sound a bit in mind. But I also should point out that the songwriting here is quite strong and promising for a first album. Nothing really new or too much progressive, but good anyway. The production is good and there are no fillers (but also I can´t really point out a highlight either).

I can only recommend Cressida for the ones who love the late 60´s sound (specially the West Coast influenced bands like The Doors). Those will certainly enjoy this little known album, that certainly have its moments. Rating: something between 2,5 and 3 stars.

I do not have the idea that in the world there is a band more romantic and poetic of these Cressida, a band with a short career but with a Vertigo label's evergreen "To Play Your Little Game". Cressida is classified as Symphonic Prog band. If correct this is a Folk Rock band but if you read Cressida as Folk band is correct that Cressida is classified as Symphonic Prog. This fact is important because you read in correct manner the music of Cressida.

The sound is light but with tons of organ: some moments light, some moments heavy. But generally sweet because the music is romantic: a sort of post Folk in Beat/ psychedelic field. Is not difficult to see a cottage garden in the England countryside but at the same time the smoky chimneys of the steelworks during the Industrial Revolution. Not common in Prog, Cressida have a role vocalist, Angus Cullen, a good vocalist, pefect to sing this type of music. Organist Peter Jenning is great in Cressida but the rest of the band is not great as technique: so the Cressida music is this. The songs are not long: maximum 5 mins. As for this fact the music present tons of symphinicisms in Folk field or tons of Folk moments in Symphonic Prog, depend which side you want to watch Cressida's music. I am not mad. If you remove the organ the music is simply Folk!

So, for me, Cressida is a great band, a sort of band that have a perfect role in Prog world and that deserved better luck. Genesis not have Folk moments in their music, Cressida have Folk moments in their music!

This was such a pleasant surprise. I've seen this band associated with some Proto-Prog bands so I wasn't expecting much considering most of these organ / mellotron led late sixties bands just don't do a lot for me. Add to that the poor rating on this site and I just assumed this would be a disappointment. Well check out the first review for this album on here from a Collaborator (Sean Trane) and also the high ratings on the Gnosis and RYM site and you'll see I am not alone in my praise for this 1970 release.The vocals are so appealing, kind of a cross between Hayward (MOODY BLUES) and Hastings (CARAVAN) plus a little Robert Wyatt.The songs are fairly short and samey but i'm just drawn to their sound with the floating organ and the odd guitar solo.Well crafted tunes are the strength of this record.

"To Play Your Little Game" opens with vocals that remind me so much of Wyatt then it kicks in before a minute.Vocals become more passionate as contrasts continue. A guitar solo ends it. "Winter Is Coming Again" builds as reserved vocals join in. It gets fuller on the chorus each time. Nice guitar melodies and laid back organ here. "Time For Bed" is uptempo with strummed and picked guitar along with piano and vocals standing out. "Cressida" features pulsating organ with bass and drums as the vocals join in. Far out stuff right here. Mellotron too as It turns dreamy 2 1/2 minutes in then back to the original programming. "Home And Where I Long To Be" is another relaxing song with vocals that does pick up at times. I like the guitar melodies in this one.

"Depression" opens with organ then it kicks in with vocals and a full sound. A guitar solo 2 minutes in followed by an organ solo after 3 minutes to end it. "One Of A Group" is mainly organ and drums early. A piano solo 3 minutes in then the guitar joins in to end it. "Lights In My Mind" is such a great little track. Some tasteful guitar too. Drums shine late. "The Only Earthman In Town" picks up before a minute with vocals leading the way. Some beautiful guitar melodies 2 1/2 minutes in then the organ solos. "Spring '69" has some cool lyrics with sad vocals and gentle guitar. "Down Down" has these floating organ melodies and reserved vocals leading. I like it. It picks up when the vocals stop. Mellotron in this one too. "Tomorrow Is A Whole New Day" opens with organ then it picks up with vocals and drums.The guitar leads then organ. Some vocal melodies later. Moving stuff.

A great and enjoyable album.

Cressida's first album proves that you can have rich symphonic prog textures without long, extended track durations. Part of the Vertigo stable (in fact, it was issued along the debut albums by Black Sabbath and Rod Stewart), it's a charming piece which straddles the prototypical psychedelic-leaning progressive rock sound of the 1960s with the symphonic prog sound which was beginning to creep in following King Crimson's debut album. Angus Cullen's vocals are a particular treat, as are the warm harpsicord, organ and piano textures of Peter Jennings. One of those special albums which on the one hand is quintessential progressive rock but on the other hand offers none of the grandiosity or pomposity of other proggers but retains a clear connection to the psychedelic underground the genre emerged from.

This was really a band I like! Cressida was a no-name for me before I went on a cruise to wonderful Riga last weekend. On way back Cressida played and made us all totally amazed. This was an amazing reunion 42(!) years after their second and last record. This is Cressidas first record with an artistic cover showing fragments making a symbol and some clouds in the back ground. It feautires Angus Cullen on vocals, John Heyworth on guitar, and vocals on track 5, Peter Jennings on organ, harpsichord and piano, Kevin McCarthy on bass and Iain Clark on drums. Of them sadly Heyworth is dead but the other's still going strong, very strong actually.

Ok, then was then, and a good one! The sound of Cressida is light and very artistic. The perhaps most obvious is Peter Jennings talanted organ play and of course Angus Cullens soft emotional voice. If you don't know how they sound, think about a micture of Caravan and Van der Graaf Generator. Do you like those bands, I do, and so I like Cressida. On twelve almost similar good tracks they let their music talk to us is an honest manner. Unlike most other proggers these men mostly did short songs and they're so sweet. The album is even so it's hard to pick the best songs for you but the sweeping organ solos in "Winter is coming again" or the friendly vocals in "Lights in my mind" could make them that. Or perhaps(as usual) the longest track's the best: "Tomorrow is a whole new day" is a perfect song if you just would like to listen a little. I like Clark's tasteful drumming, McCarthy's bass and Heyworth elegant guitar. I also find Cullen's pure voice unique even if clear similarities could be felt to Hammill or Hastings. But what is making this record a five star record is the progressive organ which takes inspiration from classical and mainstream music but mostly from its own player. I look forward to review their next: "Asylum". I find this perfect!

Favourites: Tomorrow is a whole new day (10/10), Lights in my mind(10/10), WInter is coming again(10/10), Home and where I long to be(10/10), Depression(10/10), Cressida(9/10), The only earthman in town(9/10) and Down down(9/10)

Cressida are a group of five accomplished musicians who got together in London in the late 1960's to form a band. The band initially called themselves "Charge" before changing their name to Cressida. They released their self-titled debut album in 1970 and a further album "Asylum" followed in 1971 shortly after the break-up of the band. The "Cressida" album is full to the brim with complex changes of time signature, soaring emotional vocals, impressive Hammond organ virtuosity and wild guitar solos. The album contains 12 diverse songs, ranging from short Jazzy numbers, melancholy ballads, and all-out symphonic masterpieces. It's hard to pick out a favourite in an album that is a sheer joy to listen to from beginning to end, but the final song "Tomorrow is a Whole New Day" represents a masterpiece of Symphonic Prog. The melancholic singer sounds remarkably similar to Justin Hayward in places and the album is guaranteed to appeal especially to fans of the Moody Blues and any collectors of classic Symphonic Prog generally.

The album opens impressively with "To Play Your Little Game", featuring plaintive vocals and a beautiful organ solo before launching into some fast-paced Jazz-Rock played in an unusual time signature. "Winter is Coming Again" is a pleasant sounding melody, featuring a wild psychedelic guitar and Hammond organ solo in the middle section. "Time or Bed" opens with an acoustic guitar before transposing into another up-tempo Jazz-Rock number in an irregular time signature. The title track "Cressida" is probably the most Jazzy track on the album with an upbeat Jazzy 5/4 time signature. "Home And Where I Long To Be" is a beautifully complex song, and ranks as one of the most impressive numbers on the album with it's sudden changes of tempo, soaring vocals and virtuoso Hammond organ and guitar accompaniment. The song is very much in the style of the Moody Blues and would deserve pride of place on any of their albums. "Depression" is a very fast-paced song, very reminiscent of one of the Moody Blues rockier numbers. Side Two of the album opens in similarly impressive style with the jaunty song "One of a Group" with the sound of the Hammond organ very much at the forefront and featuring a brief fuzzy guitar solo with a few Jazzy piano motifs included for good measure. The eighth song on the album "Lights on My Mind" is an up-tempo rocker with some bright and breezy Hammond organ playing and another far-out fuzzy guitar solo. "The Only Earthman In Town" begins with a haunting refrain and launches into some dextrous and intricately fast-paced organ-playing. Track 10 "Spring '69" is a gentle melody featuring a solo acoustic guitar which blends in nicely in between the orchestral and Jazzier numbers. The penultimate song on the album "Down Down" opens with a beautiful organ solo and features the haunting sound of the Mellotron. The song has several interesting changes of pace throughout and includes a Jazzy interlude. The album concludes in full grandiose splendour with "Tomorrow is a Whole New Day", a song very much in the symphonic style of the Moody Blues classic "Night in White Satin".

This is a superb album of musical virtuosity featuring a very talented group of musicians. The album should delight Symphonic Prog lover's everywhere. It should also appeal to any aficionados of early Jazz-Rock with special appeal to fans of Justin Hayward and the Moody Blues symphonic sound. It's no exaggeration to say this album is a masterpiece and it deserves repeated listening to fully appreciate the beautifully complex nature of the twelve well-crafted songs. There's an abundance of melancholy melodies, fast-paced Jazz-Rock songs and grand masterpieces of symphonic virtuosity to entertain and enthral the listener in equal measure and it's an essential album for any classic Symphonic Prog collection.

Cressida's debut is a good example of bands which haven't sorted out their stuff yet. They are good musicians and there are interesting passages here and there, with a variety of styles, including some folkish acoustic passages, some jazzy, some psychedelic guitar outbursts. The keyboard work is the highlight, as the songs are dominated by organ, with some piano, harpsichord and mellotron added to a good effect.

With all that, the bast lacked, as I see, consistency in songwriting, and it kinda dissolves the quality of the original and interesting passages in mostly good-but-not-great songs and when you finish listening the album, you are sure that you heard something very good, but, apart from a few songs, not very memorable.

The best songs are Depression, which represents the band at its proggiest (maybe together with One of a Group, with has lots of things going on but not very consistent), plus Cressida, Down Down and Tomorrow is a Whole New Day, each one on its own style representing Cressida's signature sound dominated by great organ passages. I'd include in the list of the best Lights in my Mind, which works well as a more straightforward and commercial song with Cressida's best, and The Only Earthman in Town, with great organ solos.

The rest of the songs are not bad at all, they are all fine, but they don't highlight the strengths of the band and you end up almost with the case of a stronger song followed by a not so strong, followed by another strong, and so on. Anyway, fans of organ-dominated early prog will find a lot to enjoy here, but people who are not a lot into early prog probably will not find a lot of value in it.