ADONIS

I have been a big fan of this act for some time now and still rank them as one of my all time favorite prog acts. ANYONE'S DAUGHTER mix gentle vocal harmonies with some superb progressive rock elements. Uwe Karpa adds some beautiful and tasty guitar leads which seem to blend to perfection with Harald Bareth's bass and lead vocal. ANYONE'S DAUGHTER offer both English and German lp's and "Adonis" happens to be one they elected to sing in English . Although "Adonis" does certainly contain a rather awesome amount of great progressive moments, the major highlight still remains the title epic track "Adonis" (27 mins). Musicianship is very high here and ANYONE'S DAUGHTER are very easy to listen to and get into... the music is sophisticated but remains very much in control and many different moods swings. At times I get a very strong underground German feel to the music which I love. To this day Harald's voice still remains one of my all time favorites and the music of ANYONE'S DAUGHTER is essential in your collection... Highly required and is very intelligent music...!

Very good German late seventies band, with GENESIS and ELOY influences. Their first album has a brilliant long suite, "Adonis", where any prog fan can enjoy all the best elements of the genre: excellent guitar and keyboards interplay, rythmical changes and very nice melodies flowing between symphonic and spacey moments.

"Blue House" is an instrumental piece, very good indeed, atmospheric and intense, melodically beautiful.

"Sally" is the weakest point even when it isn't a bad song, but far from the majestic found in the remaining themes. Just a simple rock with saxophone touches.

Finally, "Anyone's Daughter" shows again what the band is able to do. Another magnificent piece with symphonic and spacey tunes, in the same vein of some classic German bands (ELOY, NOVALIS) but not so rough.

A recommended album, specially for those who like the German seventies scene and the GENESIS symphonic way.

Another excellent German progressive rock band. ANYONE'S DAUGHTER's debut was in the late 70's, so that they use slightly more modern keyboards than prog bands of the 70's, but they still keep an old sound. The music is quite complex: the drums are fast, the bass is sophisticated and not timid at all, the numerous guitars solos are extremely melodic & melancholic, and the keyboards are varied, melodic and elaborated. This is their first album, and probably their best one. There is often the presence of rythmic guitar, distortion free, like CAMEL. The electric guitar is never aggressive, despite some solos are near the hard rock style. Actually, the overall sound and style is similar to CAMEL, in a more melancholic way. The keyboards are often floating too, giving some relaxing ambience. The English lead vocals have a strong German accent, like Triumvirat. I would say this record can be quite sentimental. The first track, "Adonis", is a near 25 minutes of delightful prog rock: you can't stop listen it once started: at the very end, there is one of most POIGNANT guitar solos ever recorded: just hear the sustained notes full of tremolos: U-N-B-E-L-I-E-V-A-B-L-E, despite the sound is not at its best!

The side 2 contains 3 excellent songs: The "Blue House", an emotional combination of moog solos and electric guitars. The second track, "Sally", is a joyful piano+saxes song, full of punchy elaborated bass; again tons of excellent drums & lead vocals. The third song, "Anyone's Daughter", has beautiful cohesion between keyboards, guitars, bass and drums: organ solos and floating keyboards, fast guitar solos, very fast and complex drums.

Yes, "Adonis" is a sad album, melancholic, an emotion transporter. IMO, it is one of the most poignant record in the progressive rock history.

Actually nowadays this kind of melodic progressive music, which is characterized by a certain sad mood and its "floydian" melancholy as well, is a bit dated and prolix too (so I can give it a 3 stars rating and an half- as top score- but I'm not sure about it...);nevertheless the personal imprinting of A.D., a remarkable German ensemble, is much evident here and more than their following albums always in the vein of bands like Novalis, and with that typical harmonic construction on the main theme, which is a bit tiring at the end..don't get me wrong, the present album is often stunning-especially by maintaining a certain balance- that is a compromise between the personal arrangement of the melodies and their music references recalling a few derivative styles of such "German space rock"; instead their emulation of some "Britannic models" of progressive music,above all inside their next works in the vein of those ones -"symphonic-oriented"- by Pink Floyd, is not so extraordinary to me.However -coming back to the present debut album-there are a lot of memorable moments within and a recognizable style as well, apart from a few common places and a certain prolixity in the development of the concept...ok probably a "three stars score" is the right score, but it depends on your tastes and -as for my opinion above- I don't want to affect your evaluation: make your own choice, regarding of an old music stereotype of classic prog!!

Well it looks like I will be the minority once again here. And to avoid a genocided minority , I rounded up to the third star but I really think it does not deserves more. I found this album totally lacking inventivity and personality , a typical product of those years. When I listen to it Eloy comes to mind but also mostly neo-prog groups that would come much later Pendragon and Arena ) but also Novalis around those years (by 79 , Novalis was only the shadow of its former self). As you can see, not much to inspire me!

The side-long suite title track is, of course , the main course but has "deja-vu et entendu " feeling and if impeccably played , it certainly adds nothing new to the prog cause. I have a gripe agaionst the guitar 9maybe not present enough ) and the KB (sounding already too 80's-ish) and the singing is unremarkable. Side 2 does not fare any better, with the track that has given the name to the group being slightly more interesting than the rest. Again , the musicianship and execution are not at cause here , simply that the group seems to have little to say!

Every time I hear the name of this band , I cannot help but think of those cheap train ride novels and compare it to the classic novels. This is enjoyable but throw away after use . Actually, I feel a sense of relief when this record is over.

Anyone's Daughter were one of the few German bands that really "got" the symphonic style. Blending a Genesis-oid style with Camel-like touches and a touch of jazz-fusion, they gave German prog a swift kick in the pants that was so desperately needed. As bands like Novalis and Grobschnitt were flagging into obsolescence, this (comparatively, they'd already been together five years when ADONIS was released) young group set out to fill their shoes.

There's no better example of what they can achieve than the four-part, 24-minute title suite, which interpolates majestic adagio passages with soaring guitar against faster, intricate sections of fusionoid riffing. Matthias Ulmer absolutely SCREAMS on lead synth, and adds strong organ, piano and string-synth to the mix as well. Thoughtfully orchestrated, he is the highlight of an already strong band without dominating the field. Drummer Günther "Kono" Konopik (ex-Pancake) keeps up with the faster changes well, yet knows how to subtly complement the softer passages. Singing bassist Harald Bareth is one of the more pleasant German prog-rock vocalists.

"Anyone's Daughter" the song is the closest the album comes to the jackhammer intensity of the suite. "Blue House" is an adagio instrumental, a vehicle for Uwe Karpa's emotional, Latimer-esque guitarwork. "Sally" is merely a bouncy pop number, cute but pretty inconsequential.

This was quite a surprising debut album. Stylistically, not far from Asia Minor's great BETWEEN FLESH AND DIVINE album, oddly enough.

Hey hey luchadores, here's my review Sergio Leone style:

THE GOOD: well, lots of stuff. The band is tight and has good hit-hat rythms, toms rolls and changing beats. The guitar parts are really good, the emphasis is on melody, and I recall lots of references to Camel (Mirage album). The keyboard is also very present, they sound like the old John Carpenter movies like Escape from New York 1977 or The Thing mixed with the soundtrack of the first Mega Man video game; so that's a good thing for nostalgia. The bass is loud, so it's easy to practice on it. The Adonis suite is surprisingly complex and not repetitive for a 24 minutes track. The vocal harmonies can recall Genesis at times, but they are very few. Overall, these guys are really good, and unfortunately fell into the cracks of anonymat with time like so many bands. A great album, to place amongst Camel's Mirage, Genesis' Trespass and Novalis' Sommerabend.

THE BAD: Well, not much but the songs like Sally are not my cup of tea but has a cute Harmonium twist. The german accent is terrible and sometimes the keyboard is too melodramatic; marshmallow overdose on track one, which can be long at times.

THE UGLY: Man, get a load of the cover!! Holy macaroni, this has to be the worst cover of all time. Basically, there's a guy buck naked lying on his back with a ghost besides him and a guitar. What the h....?!? And the worst part is that you can actually see the poor man's crouch with pubic hair. You heard me. I laughed so hard in the store, people gave me the eyes for a while. Good lord, that's more than I ever wanted to see on an LP.

The best German album I ever heard!!!

Terribly underrated Sympho Prog masterpiece from Germany contains 24-minute suite epic "Adonis" with marvellous "ELOY meets GENESIS" style and sound,great instrumental "Blue House" ,funny radio-friendly song "Sally"(even this one can't ruin album's unquestionable greatness!!!) and closing dynamic mini-epic "Anyone's Daughter".Highly recommended - take it without any hesitation!!!

Coming as it did at the very end of the 70s, that is to say a half decade after the peak of prog, this album is a joy for the symphonic rock enthusiast, particular those who like a Teutonic flavour. While Anyone's Daughter is influenced by fellow Germans Grobschnitt and Eloy, they owe equal parts gratitude to Camel, Genesis and even King Crimson. None of this is to suggest that they are nothing but influences, but rather to help you visualize with your ears, if you will, what they brought to the table in 1979.

This debut album is highlighted by a 24+ minute suite that is one of the best of its kind! It is made up of 4 parts:

Part I: Come Away is the most purely symhonic and also one of the more mellow segments, but nonethless powerful, featuring elegant vocals by Harald Bareth in the John Wetton era KC style, ethereal keyboards, and versatile guitars ranging from near acoustic sounding to clear soloing. This is my favourite part.

Part II: The Disguise introduces the fusion side of Anyone's Daughter, one that reappears in various forms in their future, starting menacingly slow on moogs before heating up for a rousing but brief vocal section, and then settling down.

Part III: Adonis: In terms of prog development and potency, this portion is the most impressive. A gorgeous melody first delivered vocally and then nurtured by a very Latimer like solo, is followed by a brilliant, fiery, and lengthy keyboard/guitar interchange that is an absolute joy. Not a note is wasted even as it appears that chaos rules. The transition to the original theme is handled masterfully, and again we rest.

Part IV: The Epitaph : This is the most vocal oriented section with a very epiloguish feel, not unlike part 3 without the insanity. It's not quite as hard hitting as the other 3 pieces, but does tie up the themes in a more than satisfactory manner.

The remaining songs cannot match the suite, but all have great moments. Blue House is a spacey keyboard oriented instrumetal, Sally a countryish rock number, and the song "Anyone's Daughter" is of considerable interest for its powerful organ and monumental lead guitar work as well as the oddly catchy brief vocal parts, but I must add that this track was reprised with much greater success on the album called "Live" from 1984, which also includes a superior version of the first part of Adonis.

Later, Anyone's Daughter would modify their generally symphonic styles to varying degrees with considerable artistic success, and even produce perhaps some of the first "neo prog", but Adonis or perhaps "Live" are the places to start.

Appendum April 20, 2015: A 2010 release features 2 bonus live cuts that have never before appeared in any form, and a rare example of bonus tracks that actually mean something. They are both epic length and herald the group's abilities with the long form. It's a shame that they only began recording when such experiments were well out of vogue; otherwise "Adonis" might have been a 3 track opus that I would have seriously considered for 5 stars. While both pieces do not quite rise to the level of the title track, one could argue that they might have with a studio endeavour, as perhaps even the sprawling Adonis required numerous interventions en route to "completeness". It remains that both "The Taker" and "The Warship" showcase all of the group's strengths and are likely to please any fan of this album and many others. Yet another reason to give "Adonis" a chance.

Neo Prog was invented here?

I've just known the band sometime last year and it struck me with the fact that the music is in the vein of Pendragon or Pallas which normally people called it as neo progressive music. By the time I knew that this album was released in 1979, I was questioning myself about the birth of neo prog. So far I had been aware that neo prog started in early eighties even though Marillion was already there at the end of seventies; but the album "Script for a Jester's Tear" was not released yet until 1983. Nope, I'm not trying to say that the music of Anyone's Daughter is similar with Marillion - nor trying to identify who was the first time playing neo prog. I'm just curious with my knowledge about when actually started? But never mind, the music of Camel sometimes reminds me like neo prog as well. So let's just talk about this album "Adonis" by Anyone's Daughter.

Looking at the way the band approach their music it sounds to me that this kind of music is a kind of Pendragon, Pallas, Pulsar and even Camel. In fact, the voice quality of "Harald Bareth" who also plays bass guitar is similar with Nick Barrett of Pendragon. It actually shocked me the first time enjoyed this album. The music is quite enjoyable with keyboard-dominated composition and floating style. The fact that this album has an epic of the album title explains the center of this album is on its album title. The epic comprises four parts that have good transitions from one part to another. Each part has its own style and richness of melodies. The music brings us to various tempos that enrich the quality of music offered by this epic. There are segments with memorable melodies which make this epic is enjoyable from start to end.

"Blue House" (7:20) continues the domination of keyboard as main instrument that contributes to the music. The intro part contains long keyboard solo followed with simple guitar fills in mellow style. "Sally" (4:20) has faster tempo and more energetic and expressive vocal line augmented with electric piano and nice guitar solo. "Anyone´s Daughter" (9:10) concludes the album beautifully with great combination of dynamic bass lines and stunning organ / keyboard solo. It's an energetic track.

Overall, this album represents a gem of the seventies with its powerful song writing, tight composition, and nice melodies. Recommended. Keep on proggin' ..!

Peace on earth and mercy mild - GW

ANYONE'S DAUGHTER were a legendary German band from the late 70's who managed to survive the pop/punk/dico wave that attacked prog rock by that period of time and released at least 5 decent workd ranging from recommended to trully essential grades of rating...1979 was really a bad year for progressive music.However in this year some bands gave the world a few reallt interesting releases.ANYONE'S DAUGHTER's ''Adonis'' was one of them.

Firstly I'd like to hail the excellent cover of this release.Adonis was a the most beautiful young man in the Greek Mythology.He was grown and educated by the goddesses Aphrodite and Persephone.He was also a very good hunter and liked to go hunting every now and then.One day he hunted a wild pig in the woods but the heavily wounded animal attacked Adonid and managed to kill him.The cover of the album is influenced by his myth and I really find very ''progressive'' the presence of the electric guitar nearby Adonis.

The album is of course dominated by the outstanding 24-min sidelong eponymous epic track.The influence of early- and mid-period GENESIS and YES is obvious in this work.The track opens with vocal and Hackett-ish riffs and conitinues for about 5 min. with ELOY space/symphonic music.Closing to the middle of the track the GENESIS instrumental passages along with the vocals return.Nice emotional keyboards and melodic solos follow resembling to IQ or MARILLION,a sound very close to the new wave of British prog rock that appeared a few years later.Heading to the 20 min. the bands show their skills with amazing flashy keyboard/guitar interplay,superb!The thrilling ending theme,aparting from smooth piano,emotional vocals and neo-proggish guitar soling,is the best closing for such a great track.

Side two consist of three also very nice tracks.''Blue house'' is a dramatic instrumental,first half of the track consists of almost mourning keyboard and piano work,becoming more romantic after the middle with the addition of the Hackett-influenced electric guitar.''Sally'' is a pleasant break to the some kind of depressive atmosphere of the album.This is a rocking ballad track that comes like a cross between THE BEATLES happiest moments and late 70's SUPERTRAMP.The album closes with the track that brings as a title the name of the band.Again we have to deal with a depressive keyboard/guitar solo opening that fastly transforms to a more accesible fusion style of instrumental work.By the middle of the track vocals are added so the tracks gets a more pleasant atmosphere.After the middle grows an excellent fusion/symphonic instrumental section very close to FOCUS or the italian bands of the 70's.The track closes with vocals again and an outstanding fast guitar solo.Well done!

As you have also assumed,this is a great work of prog rock of late 70's.If I had to give a negative point,it would go to the vocals of Harald Bareth ,which are just average.Fortunately this album contains a lot of amazing instrumental music,that is enough for you to overcome the weak vocal section...

In my opinion this is one of the best late 70's prog rock works and it would be a pitty if you don't add it to your collection.Thus I recommend ANYONE'S DAUGHTER'S debut to all.This isn't exactly a masterpiece but it gets over 4 stars by me in PA scale of rating...Enjoy music at its best form!

Well, this album is quite popular in Brazil, my country. Although it came in a time prog was the last thinkg to be called hip it was well received and it is much loved by progheads in general. Since I never heard it at the time only recently I had a chance to buy the CD. After repeated spins I have mixed feelings about it. On one side the music is beautiful and very well done. It seems a lot of the neo prog acts got at least some inspiration from its content. On the other I found it lacking some energy and originality. Vocals are only average, with some heavy german accent.

The centerpiece of the entire CD is of course the long title track. It is a great 24 minute epic although again I find it a little shaky in some parts. It takes some time to get used to, but in the end I found myself enjoying it a lot. Side two of the original LP starts with the very nice instrumental Blue House (great keys!). then comes the weakest and most ordinary moment woth the track Sally. My God, do those guys know how to break the record´s balance with this dud! the saxophone solo is simply totally out of place here. A track to be skipped ever since.The last song is a bit more jazzy and has its merits, but is not up to the other first two.

As a debut album I think Adonis is excellent. The band was already on its way to find their own sound. The production didn´t help a lot, but the songwriting and the playing is strong enough to hold your atention until the end (except for Sally). If you like nice, laid back, symphonic rock in the vein of early Eloy or Nektar you should check this one out. My rating: something between 3,5 to 4 stars.

Gatot is right, there is a definite Neo-Prog flavour to this album, even if this did come out in 1979. The guitar, vocals and emotion bring that genre to mind. I have to say that this album has been an absolute pleasure to listen to, I really wasn't expecting anything this good. Lots of keyboards as well including synths, piano and mini-moog. The bass and drums really impress as well. Just an outstanding release all around.

"Adonis" is the side long suite clocking in at over 24 minutes. Yeah this is a ride. Vocals and gentle guitar followed by a fuller sound after a minute. Just gorgeous. The guitar recalls Hackett and we get some organ 3 1/2 minutes in. A darker soundscape after 4 minutes. Thunder followed by rain after 7 minutes. Silence then these ominous synths come in followed by aggressive guitar and drums. Nice. The tempo picks up with mini-moog. Vocals are back before 10 1/2 minutes. Silence after 11 minutes then keys and vocals come in. Beautiful. Some orchestral keys that recall COLLAGE after 12 1/2 minutes. I'm thinking Neo-Prog again after 14 1/2 minutes. Cool section. Some crazy synths before 16 1/2 minutes. Silence 19 minutes in then the piano comes in with vocals a minute later. Check out the guitar solo that starts before 23 minutes to end the suite.

"Blue House" is the only instrumental on this album. Synths to open as organ floats in the background. It settles before 2 minutes as the synths stop and the guitar starts to lead. It slowly builds. "Sally" opens with keys as vocals, drums and guitar all join in. Sax 1 1/2 minutes in then it settles down but not for long though. More sax 3 minutes in to the end. "Anyone's Daughter" opens with synths before guitar and cymbals join in. It kicks in around 1 1/2 minutes then settles some a minute later. Some great sounding bass and organ here. Vocals after 4 minutes. Nice. A change before 5 1/2 minutes as the tempo slows down and the vocals stop. It kicks back in before 6 minutes. The guitar sounds so good. Vocals are back before 8 minutes then the guitar rips it up.

I must admit the two shorter tracks are good but they don't do a lot for me, but man the 24 minute opener and 9 minute closer are incredible. Without a doubt 4 stars.

Anyone's Daugher is a german symphonic prog band formed in late '70's and releasing first album in 1979 named Adonis. Influences are clear from the beggining from , Novalis, Eloy, some Genesis here and there. Also the sound of the band must be considered that in this period was born neo prog, very musch this kind of bands will influence the next generatiuon of neo prog bands from the '80's, like pentragon, Arena, and so on. Very much a teutonic sound here and manner of aproach of their music, sometimes quite similar with Tibet for ex, who just releasing the first album selftitled and aswell their swansong in 1979. Anyway this first album of this quite underrated band from german scene has a very powerfull release here, symphonic arrangements , very good, musicianship top notch, a good album all the way. Even the voice has a typical german accent like the one from Eloy, is not a weak point here, all is well made and with profesional sound. Anyone's Daugher were in those years a shining star in progressive rock genre, everybody known that 1979 was the peak of disco and punk.Still they manage to gain some succes, not bif, but quite important for them to push to make another albums. The relase opens with the title track , 22 min of great arrangements, inventive duo between guitar of Uwe Karpa with the keyboards of Matthiss Ulmer, nice track and well played. An instrumental piece aswell Blue house, elegant and smooth in same time. So , a pleasent release for me, quite enjoyble , and will desearve for sure 4 stars, but I prefere their next one , even has a more mainstream sound.

Anyone's Daughter emerged during the prog wilderness years to play an accessible style of symphonic prog which, at points, could arguably be called a prototype for neo-prog. (Proto-neo-prog?) Their sound is reminiscent of a combination of Eloy's highly narrative style of the era (particularly in the epic title track) with the pastoral symphonic style of early Genesis.

It's a matter for debate whether this album ever had any influence on the neo-prog scene which would begin to germinate shortly after its release, but at the very least it represents an independent stumbling on the accessible, melodic musical direction many neo bands took. so it is interesting on that level. That said, the album isn't without its issues. The sound quality on the earliest CD version from 1993 is not that great - though the recent remaster has done an admirable job of cleaning it up - and, on top of that, the narration-heavy vocal style may put off some listeners, as I admit it does me. Although Harald Bareth's lead vocals are at least less intrusive than they would be on subsequent releases from the band, they do still tend to annoy.

Overall, I can see how this album would stand out as an oasis first when it originally came out in 1979, when prog was on the decline, and then in 1993 when it got its initial CD reissue, back when the prog revival was just gathering pace. At the same time, there's just better pastoral German prog of this vintage out there - such as Neuschwanstein's Battlement - leaving Adonis an entertaining but ultimately second-tier release.

Perfect "modern" Symphony from the start to the end. The epic track distinctively divided into several (4 or so main ones) parts, each one different from the rest, each one telling different part of the story. Beautiful story. 6 minutes 4 packs - intro, wilderness, realization and finally, epic ending in form of thrilling end on high note rising from calmness. That's good, we know the drill, one strong stuff and rest of filler material, BUT that's fortunately not happening here. The rest songs are not as "big", not as gold and shining, but they have a lot to offer as well.

5(-), No weak track here, that's the advantage of Adonis. Symph at its finest.

This is one of the legendary bands that anticipated the neo-prog movement, cause they sometimes sounds close to the new wave of british prog rock that would appear a few years later.

Adonis is a very good album, even though there are plenty of ordinary rock moves that went down better in its day.

If you like the more melodic side of symphonic prog, the slow pace and solemn walk of space rock masters of PINK FLOYD and ELOY, then Anyone's Daughter still must be considered for the collection.

The first side is dominated by the wonderful self titled epic. While the second half isn't that impressive it still holds up rather well. "Blue House" is a laid-back instrumental (with hints to CAMEL) and "Sally" is a poppy number with lots of piano and sax solos.

Though the album is brief, it is solid from beginning to end. And it's very recommended.

Hailing from the German city of Stuttgart, symphonic-rock outfit Anyone's Daughter appeared pretty late in the day for a full-blown progressive rock act, their debut release 'Adonis' not issued until 1979. However, despite this, the group had, by 1986, shifted almost two-hundred thousand records in their homeland alone, a phenomenal amount for an unfashionable group playing complex music at a time when punk and new wave were beginning to dominate. Of course, by the time the 1980s had come round Anyone's Daughter had begun to soften their style, whilst later albums, unlike 'Adonis' would be sung entirely in their native German tongue. A concept album-of-sorts, 'Adonis' is a thickly-symphonic beast filled with carefully-crafted neo-classical passages adorned with wailing guitars and melodic keyboards. Atmospheric sound effects are also used to flesh out group's sound, the overall effect not unlike that of fellow teutonic outfit Grobschnitt, only Anyone's Daughter sound is softer, less manic and without that band's wild sense of crazy - and sometimes rather silly - humour. The strongest moments on 'Adonis' are found on their four-part title-track song-suite that opens the album, the group's trademark warm, glistening synthesizers and multi-layered keyboards producing a slow- burning sound that rarely takes flight for long. This is careful, studied progressive rock with the emphasis very much on careful instrumentation, and at times the blend proves rather beautiful. However, whereas Grobschnitt's fantasy-tinged prog would be spiked with powerful solo's and quickfire interplay, Anyone's Daugher by comparison seems slow, occasionally bordering on the tedious. The rest of the album never quite catches fire, thus the end result proves attractive yet ultimately frustrating. Some have likened Anyone's Daughter to such British prog luminaries as Genesis and Yes, yet that is probably to high an appraisal. 'Adonis' is a tasteful and fairly creative slice of ethereal symphonic prog, though sadly it fails too often to set the pulse racing. Interesting then, and not without it's merits, but hardly a classic of the genre.

STEFAN TURNER, STOKE NEWINGTON, 2012

Usually I focus my reviews on new albums. That has been my goal. But after receiving so many requests of doing reviews for re-editions I've decided to give them a try and this gives me the chance to review some classic albums or some old material that's worth mentioning.

Today I'm beginning this new section on the website with the German band Anyone's Daughter and their first album Adonis (1979).

Anyone's Daughter is a German band that was founded in 1972 in Stuttgart by Uwe Karpa (guitars) and Matthias Ulmer (keyboards and vocals) while they were still high school students. Their line-up (in their classic period) was then increased with Kono Konopik (drums) and Harald Bareth (vocals and bass).

Adonis (1979) was the first album by Anyone's Daughter and at that time the album came as a blow of fresh air to the Prog world in general. By at that time the genre was in trouble and most of the successful bands were changing their sound drastically searching for commercial success. And then here comes Anyone's Daughter and the bold album that is Adonis (1979)!

The sound of this German band can't really be compared with their English peers as it usually happens. Though certainly the band was influenced by the English famous bands their sound was much more like its country brothers Eloy (although they deny the fact).

Adonis (1979) opens with the suite of same name and its 4 parts in 24 minutes. The suite starts with a peaceful kind of Prog coming out of the speakers with beautiful melodies. Bass player Harald Bareth delivers some soulful playing and very competent vocals while the keyboard player Matthias Ulmer very often double his vocals forming then a perfect union. Also, in 'Adonis Part III: Adonis' he's the responsible for great synthesizers. Something else to pay attention to are Uwe Karpa's guitars. He doesn't show off all the time but instead he works greatly for the music, meanwhile Kono Konopik delivers tight and competent drums. All in all 'Adonis' is the main piece of the album and it should be clear to everyone with this suite the high quality of the group then, especially because this was their debut album.

The second side of the album starts with the slow instrumental piece 'Blue House'. The track was named after the house they lived and rehearsed for this album in the previous 2 years of the release. The next song is 'Sally'. This track, despite its weird tempo, is more of an upbeat song and a bit more simple in comparison with 'Adonis' suite, for example. Closing the original album we have the track that gives the band a name. 'Anyone's Daughter' (that was also influenced by the Deep Purple's song with the same name) is a building up kind of song. It begins slow and it goes on a crescendo, building its climax till the vocals start around the middle.

The original LP was released in 1979 by the labels Brain/Metronome. The version I'm reviewing was released in 2010 by the German label Tempus Fugit and has 3 bonus tracks. The first two are songs never recorded in studio. 'The Taker' and 'The Warship' were recorded live in 1977 on Scorndorf, Germany. The first has a great organ riff with galloping bass and dancing guitars. The second is more of a 'funk' piece full of twists and riffs, though it goes smooth with the verses.

I usually don't like bonus tracks as very often they don't add anything and are also recordings of a completely different period than this the album was recorded in. Not here, both tracks are great treasures for fans and they fit the studio material.

The third track is in fact a video of 'Adonis Part I: Come Away' that was recorded in 1978 in the studio Zuckerfabrick (Sugar Factory) during the recordings of the album. The remastered version of Adonis (1979) also has a very nice text on the booklet by Stefan Oswald (both in German and English) as well as lyrics and pictures of the band.

Adonis (1979) is a great album that brought the late 70's Prog back on tracks and this new edition is a must have for the band's fans and Prog lovers!

Very recommended!

(Originally posted on progshine.net)

Anyone's Daughter is a band I've heard about since I first joined Prog Archives in 2008 but hadn't quite found the time to get to know until now. Wow! I have been missing something important! If this album is any indication, this German band may be deserving of front line/top tier consideration for all German bands ever!

SIDE 1 1. "Adonis" (24:09) (47.5/50) - Part I: Come Away - opens with a distinctly GENESIS sound, both with guitars, keys, and vocal harmonizing. Even when drums and bass kick in, it's totally GENESIS I'm hearing. Such rich, gorgeous soundscapes in those fifth and sixth minutes! This is amazing! Guitar solo previewing the sound and stylings of MARILLION's Steve Rothery. (15/15) - Part II: The Disguise - opens with classically influenced synth play--something I find quite common among German proggers like TRIUMVIRAT, NEUSCHWANSTEIN, NEKTAR, ELOY, PATRICK MORAZ, and even the accomplished musicians from the original NINA HAGEN BAND (8.5/10) - Part III: Adonis - opens differently--in a prog folk kind of way; reminds me of STRAWBS or ELOY, as well as both Gabriel- and post-Gabriel-eras of GENESIS and soon to arrive MARILLION and 1990s COLLAGE. Brilliant work from all instrumentalists! Most excellent prog! (15/15) - Part IV: The Epitaph - complex solo piano opens this section before multiple voices join in singing. Full band joins in after the first minute just before the song lapses into a brief guitar-led instrumental section. Piano and multiple voice vocals continue throughout the song with guitar solos leading the instrumental interludes. (9/10)

SIDE 2 2. "Blue House" (7:20) opens with some very elaborate classically influenced keyboard soloing but instead of using a piano or organ its a ARP Omni and MiniMoog! Two minutes into it there's a switch to solo electric bass guitar arpeggi with background guitar and synth lines slowly woven in. In the third minute the full band congeals to support the bluesy lead guitar as he solos in a gorgeous RAY GOMEZ sound and style. Gorgeous and fully engaging. (14/15)

3. "Sally" (4:20) piano based in a kind of saloon way with amazing rips from the RAY GOMEZ lead guitar of Uwe Karpa. The vocals of Harald Bareth and Mattias Ulmer are kind of innocuous and forgettable--which detracts from my enjoyment of this music as they are quite central to the song. (8.75/10)

4. "Anyone's Daughter" (9:10) what a guitarist! (17.5/20)

Total Time: 45:19

Five stars; a minor masterpiece of progressive rock music. I understand and do not disagree with the Neo Prog assignation that many give to this band and particularly to this album, but I'm not sure it's completely accurate: the music stands on its own without seeking its possible influences or derivatives very well. I almost feel guilty not giving these remarkable musicians full credit for their sound and style, but then . . . there are familiarities/similarities.