Canadian brass rock band LIGHTHOUSE were formed in Toronto 1969. Unusually, the band leader Ronn "Skip" Prokop (born 13 December 1946 in Ontario) was a drummer, he has played previously with artists such as Janis Joplin, Carlos Santana and Al Kooper before forming his first band THE PAUPERS. Of these, the Kooper connection is probably the most significant, as the music of Lighthouse is based around a solid brass section and big arrangements, similar to those of BLOOD SWEAT AND TEARS and CHICAGO (TRANSIT AUTHORITY).Prokop's ambitions were made clear from the outset when the first line up of Lighthouse had no less than 11 members. The were quickly picked up by RCA Victor, who release the bands self titled debut in 1969. Further albums followed quickly, but the punningly titled "Peacing it all together", their third release, would see the end of their relationship with RCA. The move to GRT records coincided with the recruitment of vocalist Bob McBride, whose contribution to the fourth album "One fine morning" proved to be a commercial turning point for the band. The album spawned the bands first two hit singles, including the striking title track. Prokop's penchant for jazz/fusion and classical music led to a number of live collaborations with orchestras which, when combined with the band's appearances at a number of high profile pop/rock festivals (they declined an offer to appear at Woodstock though), meant Lighthouse's fortunes continued in the ascendancy. Perhaps realising letting the band go had been a touch premature, RCA quickly put together a compilation of the material they still owned in 1971, in the form of the rather cheekily titled "One fine light" compilation. The following year, the band's first live album, the superb "Lighthouse live" was released, becoming Canada's first platinum selling album. Singer Bob McBride would leave the band after the release of the "Sunny days" album, a time which in retrospect was the beginning of the end for the band in both commercial and creative terms. Despite the fact that it was on reality his band, Prokop left in 1974 after the next album "Good day". The rest of the band soldiered on for a while, but the soul of the band had gone, and they eventually bowed to the inevitable and split in 1976. Line-up / Musicians Dick Armin/cello Ralph Cole/guitar,vocals Don Dinovo/viola Paul Hoffert/keyboards Keith Jollimore/vocals,wind Bobby McBride/percussion,vocals Pete Pantaluk/trumpet Skip Prokop/guitar,drums,vocals Howard Shore/saxophone Larry Smith/trombone,vocals Louis Yacknin/bass Discography(Album) One Fine Morning 1970
1.Love Of A Woman 2.Little Kind Words 3.Old Man 4.Sing Sing Sing 5.1849 6.One Fine Morning 7.Hats Off (To The Stranger) 8.Show Me The Way 9.Step Out On The Sea 10.Sweet Lullaby
Originally from Quebec, Canada, VOIVOD formed in 1982 as a fairly straightforward metal band, favoring the British Metal end of the spectrum. After a few years their sound took a major turn to the progressive side, incorporating futuristic imagery and unified concepts for albums. Two of the four founding members (bassist Jean-Yves Theriault and vocalist Denis Belanger) left Voivod in the early 90s; the band continued as a trio in the late 1990s with new member Eric Forrest handling both vocals and bass guitar. Forrest was badly injured in a car accident in Germany in 1998, and Voivod briefly disbanded in 2001 before Belanger returned to the band. Since the death in 2005 of Denis D'Amour (guitars), the current incarnation features two of the four founding members: Denis Belanger (vocals), and Michel Langevin (drums) along with Jason Newsted (of Flotsam and Jetsam and Metallica) on bass guitar. They rank alongside DREAM THEATER as pioneers in the development of progressive metal in the 80s, but tend to favor a heavier and more sparse musical style more akin to QUEENSRYCHE. Keyboards (or any other instruments besides vocals, guitars, drums, and bass) are almost non-existent in the music.Their first truly progressive album was "Killing Technology" (1987), followed by "Dimension: Hatross" (1988) which is often considered their most innovative work. "Nothingface" (1989) continued on the science fiction theme, and featured a cover version of PINK FLOYD's "Astronomy Domine" (They also covered PINK FLOYD's "The Nile Song" on their 1993 release "The Outer Limits"). "Angel Rat" (1991) is also well-regarded in progressive metal circles. They continue to record and tour, and have been seen on the Ozzfest roster a few times. Line-up / Musicians Jean-Yves Theriault/bass Denis d'Amour/guitar Michel Langevin/drums Denis Belanger/vocals Discography(Album) Nothingface 1989
This jazz-rock band made two albums in their relatively short career, the first coinciding with a jazz-rock boom in Quebec. Their energetic fusion-type music was well received at home, but they gained sufficient recognition to be invited to the International Festival of Montreux in Switzerland (not to be confused with Montreal, their home base, which has also an equally important jazz festival nowadays). Their first self-tiled album, also known as Sous Un Arbre, was released in 78, and they managed a second release by recording their set in the famous festival that was made up of almost all-new tracks. They unfortunately broke-up after this release, but leader keyboardist Pierre Lescaut went on with a solo career in new age music. Line-up / Musicians Anne-Marie Courtemanche/vocals Pierre Lescaut/keyboards Stéphane Morency/guitar Pierre Bournaki/violin Jean-Philippe Gélinas/saxophone,flute Michel De Lisle/bass André Leclerc/drums Discography(Album) Aquarelle(Sous un arbre) 1978
1.Aquarelle 2.Aquarelle II 3.Aquarelle III 4.Bridge 5.Esperanto 6.Francoise 7.Magic Of Sounds 8.Under A Tree 9.Volupté
To the best of our knowledge, 15 copies of this 1978 private pressing were actually produced which suggests that fewer than 50 people have ever heard this album. A select group indeed. And more remarkably, this is a great recording, full of prog keyboards, synths and guitars. The lyrics are dark and mystical, and there's a brooding, ethereal feel to proceedings. At only just over 18 minutes the album's a tad on the short side, but what we do get to hear leaves the listener yearning for more. Line-up / Musicians Don Stagg/keyboards,synthesizers Eric Simpson/vocals,guitars Mike Fisher/bass,guitars Dave Norris/drums Discography(Album) Under The Burning Sun 1978
1.Under the Burning Sun 2.See the Light 3.The Sky My Friend
GAROLOU was a pan-Eastern Canadian group with members from Ontario thru to the Maritimes. Its origins could be traced to Franco Ontarian brothers Marc and Michel Lalonde who were living in Prince Edward Island in 1974 and part of a theatre troupe. Their musical career began humbly as a folk duo, but their interests and their popularity resulted in expansion to a full rock ensemble including keyboards, bass and drums, performing revved up and re-interpreted folk songs with plenty of progressive flourishes, Canada's answer to STEELEYE SPAN if you will. The group was ultimately based in Quebec, partly because a studio in the Laurentian Mountains was kind enough to provide free time to produce their first recording, even without any label signing, which eventually came. Their history is a turbulent one. While personnel changes were frequent and almost de rigueur for the communal lifestyles of the period, Garolou survived the indignity of a name change from their original LOUGAROU moniker, the result of a threatened lawsuit from a folk dance troupe with a very similar name. The original name is a contraction of the French word for werewolf, while Garolou is a play on words at several levels, perhaps at least one being a slight at the dance troupe. One interpretation is "Beware the wolf", while another is "Boy of the Wolf". Their first two albums, Lougarou (1976) and Garolou (1978), are widely regarded as their best and sold well. The 80s brought forth Romanceros (1980), which received critical acclaim, and Centre-ville (1982), but by then the golden era of Quebecois folk had withered, and the group called it a day in 1983.In 1993 the band re-united and has performed on and off since then. Rekindled interest resulted in re-releases of the four albums packaged as 2 two-fers, a live album, and a 1999 studio recording, all testament to the band's enduring appeal. Line-up / Musicians Michel Lalonde/guitar,vocals Marc Lalonde/vocals,bass Reginald Guay/vocals,keyboards Gilles Beaudoin/vocals,guitar Michel Stan Deguire/percussion,drums Discography(Album) Garolou 1978
1.Aux Illinois 2.La complainte du marechal Biron 3.Le depart pour les Etats 5.Je me suis habille en plumes 5.Alouette 6.Victoria 7.La retraite de Bonaparte 8.Wing-tra-la 9.Germaine
This, the only album from seventies Canadian band Mantis, only has three truly prog songs, but somehow remains quirky and likeable throughout. Like many bands of their time, Mantis shows quite a bit of humor in their songs, which sound to me to be mostly inspired by the west coast rock (The Jefferson Airplane, The Mamas & The Papas, The Doors...) of that era. The three songs that spark my interest are What Does It Take, a piece that starts out somewhat nondescript, but turns into a sound like what Pink Floyd was working on in those days. Fred another shifting styles song, begins as a country blues jam, but after a nice guitar solo, the keyboards turn it into something similar to Keith Emerson & The Nice. Eyes Of Fire, the proggiest piece on the album, is a Santana-like jam, with some fusion and symphonic breaks. Line-up / Musicians Philip Aker/bass Mark Bajona/guitar Rick Elger/vocals,harmonica Daniel Hutchison/drums Martin Swehdlow/keyboards Christine Williams/vocals Discography(Album) Mantis 1973
1.I Don't Ever Want to Get Married 2.Communique 3.Walking Away 4.What Does It Take 5.Fred 6.Hollywood Eyes 7.National Blues 8.Take Me Back 9.Eyes of Fire
PTARMIGAN were a Psychedelic Folk Progressive rock band from Vancouver Canada who released a genuine beautiful album in 1974. PTARMIGAN's debut album resonates with a highly unique charm and character with very few true comparisons. Without a question there is a strong Native North American Indian feeling to this album with flute, hand drums and lots of acoustic guitar. Line up included Monte Nordstrom : vocals, 12 string guitar, Kat Hendrikse : drums, Dave Field : acoustic bass, Richard Mayer : electric bass, Glen Dias : lead vocal, alto, tenor & bass recorder, incidental percussion and Peter Wheeler : hand drums. Overall album is quietly psychedelic with some great songs and a semi-haunting nature to them. Vocals are soft and well done and generally sung in harmony. No rock out here, this is one of those "back to nature" albums and a great one to get lost in. Line-up / Musicians Glen Dias/vocals,percussion Monte Nordstrom/vocals,guitar Kat Hendrikse/drums Dave Field/bass Richard Mayer/bass Peter Wheeler/hand drums Paul Horn/percussion Discography(Album) Ptarmigan 1974
1.Rise 2.Go Dancing 3.The Island: Intro 4.The Island: Preambule 5.The Island: Main Theme 6.Vancouver: Reflections 7.Vancouver: The City 8.Night of the Gulls: On the Water 9.Night of the Gulls: On the Wind 10.An Hymn to the Ocean & The Great Northern Lake: Ocean Song 11.An Hymn to the Ocean & The Great Northern Lake: Afternoon rain 12.Coquihalla
In the mid 70's in Montreal existed a Hammond-driven prog rock quartet Incubus (there was also a US group of that name in those years) that could've been often compared to Emerson Lake & Palmer and haunted the scene from 70 to 74, but never released an album, although they had started on it (sessions took place in January 74 in Hérouville, France), when, they called it a day in late 74. So when three out of four original members reformed in 2007, they certainly weren't going to name themselves Incubus, since the name had been used once more, by a metal group whose fame belittled both previous groups. So while wanting to refer to their early 70's heritage, they chose to rename themselves ExCubus. ProgQuebec approached them about the session tapes of 74 and once through them, they selected 4 songs that they saw fit to release. The rest of the tracks present on this first album are the work the group (now a quintet) to rekindle the flame of their gone-by dreams. So Mémoires Incubussienes includes both the historic session and another recent one (January 2007) and the least we can say is that the latter one is definitely worth or the former, the former having no valid reasons for not seeing the light of day, except for the lack of luck and group quitting. The first four tracks develops a symphonic rock ala ELP, but with a solid guitar player answering the local Emerson. Actually the group might also sound between Atomic Rooster, Egg and even Anglagard. Of these track, the most interesting is Abomination D'Une Quarte De Triton, which is clever but complicated musical trick removing some triton quart (or whatever, you figure it out), seconded mello- fest of (Morning) Glass Army Parade. If the first track had some wordless vocals, the other three tracks are instrumentals, but something tells me, that this was probably not intentional back then.. that the session had stopped before they could have added the vocalsAs for the 2007 sessions, they sound like a very credible retro-prog, sometimes close to the Scandinavian school that should have all progheads climbing up the curtains in gleeful joy, three of them sung in English with Tales Of The Tree not being a tale. Clearly meant as the second era's centerpiece is the 9-minutes Pendergast, comes with the full dramatics and a great outro. The closing Child's Funeral is a fitting goodbye with full choirs in the last seconds. All four tracks appear to have been written back in the 70's if I judge by the booklet. Line-up / Musicians Marc Delage/guitar,bass,vocals Léo England/drums Michel Phaneuf/keyboars Pierre Poulet/bass,vocals Discography(Album) Mémoires incubussiennes 1974
1.Bléatis 2.Abomination d'une quarte de triton 3.Parade de l'Armée de verre (au matin) 4.Teeth
Simon Finn's Pass the Distance is a legendary acid folk recording from the psychedelic era. Originally issued on the Mushroom label in 1970, the LP was embroiled in legal hassles and withdrawn from circulation. David Tibet of Current 93 became obsessed with it upon hearing a bootleg copy in 1995, and along with Simon and the Canadian Jnana imprint, has reissued it on Durtro as a CD. Finn, a Canadian native, made the record in 1969 in Vic Keary's Chalk Farm Studios with some new jamming mates including David Toop and Paul Burwell! Pass the Distance is not a drippy peace and love record. It is a nocturnal, nightmarish album full of extremes as well as aesthetically beautiful textures and subtleties. Finn was obsessed with Christian themes (both redemptive and apocalyptic), history, the environment, and strange, oblique love songs. The centerpiece is the epic "Jerusalem." With maniacally strummed acoustic guitars, a swirling church organ, hand drums, and a muddy bassline, Finn iterates the vision of Christ as he walked through the city and was crucified by the very people who praised his name, and he equates Christ with the 1960s counterculture ideals. The crux of the song is the terror and rage that Christ would feel were he to return and be crucified in the current millennium by those who profess his name. Finn begins softly, sadly, and soon begins ranting and screaming as the music gathers in intensity and menace until it becomes utterly frightening. It is followed by "Where's Your Master Gone," a song about Satan, articulated with Toop's electric guitar lilting in the backdrop with Burwell popping the accents with his tables. Finn croons sweetly and confusingly about the transformation and redemption of Satan. And so it goes -- whether Finn is singing about love found and lost, sex, new age revelation, or Gnostic Christianity; there is in his gentleness, a darker, more sinister edge, one that can set one's teeth to grinding or make one see things in the dark. But there is also great tenderness and vulnerability as well, as evidenced by "Patrice," or "What a Day." Taken as a whole, it is creepy and beautiful and poetic and crazy and utterly wonderful. It is a maverick recording from a time far wilder and more imaginative than our own. The CD contains the ten-track original album, an unreleased single, and two completely unreleased studio tracks -- one of which is a recording of the first song Finn ever wrote. Line-up / Musicians Simon Finn/Vocals,Guitar,Percussion David Toop/Guitar,Mandolin,Bass,Flute,Piano,Organ,Accordion,Violin,Percussion Paul Burwell/Drums,Tabla,Percussion Discography(Album) Pass the Distance 1970
1.Very Close Friend 2.The Courtyard 3.What a Day 4.Fades (Pass the Distance) 5.Jerusalem 6.Where's Your Master Gone 7.Laughing 'Til Tomorrow 8.Hiawatha 9.Patrice 10.Big White Car
Montreal-based Canadian progressive band. They released sole album in 1972 on the Good Noise Record label. Side 1 includes only one long(19'54")track entitled "Man Made" , which is very interesting, mixing progressive, classical and electronic music with spooky and dreamy organ passages, acidy guitarleads, flute solos, harsh vocals. Side 2 except "Keep On Moving" ,which utilises fast rhythms with horns and synthesizers contains more slow and melodic moments like "Country Company" and "Reflections" with a hypnotic mood. "Carnival" is a strong mid-tempo ballad, sounding like a combination of Tim Buckley and Tim Hardin, but with also harsh vocals. The cut called "Evolution", which is the album's highlight, features good rhythm and stunning lead guitar work with several similarities to Pink Floyd's music. Line-up / Musicians Billy Ledster/vocals,piano Jean Ranger/organ,synthesizer,vocals Richard Terry/bass,vocals Claude Roy/drums Roger Walls/horns Michel Como/vocals Discography Man Made 1971
1.Man Made 2.Carnival 3.Reflections 4.Evolution 5.Keep on Moving 6.Country Company
This bizarre
collection of Moog compositions is credited to a band/artist named
Lucifer (or is it "Black Mass?"), but the man behind the machine is
better known by his more ordinary given name of Mort Garson. Along with
scoring films, producing easy listening records, and co-writing the hit
tune "Our Day Will Come," Garson released several electronic music LPs
with themes like the Zodiac, the Wizard of Oz, and plant growth
stimulation. Black Mass/Lucifer (the cover art is ambiguous as to title)
is Garson's exploration of the dark arts, an all-instrumental
soundtrack for a horror film that never existed. Garson conjures up a
sinister, minor-key atmosphere on tracks with titles like "Incubus,"
"Witch Trial," and "The Evil Eye" often achieving a tone similar to the
scores that Italian horror-rock band Goblin would record for Dario
Argento films later in the decade. The technology available to Garson in
1971 was still being developed, and the record occasionally sounds
dated, particularly when some very corny synthetic drums ruin the mood.
There's some evocative music on Black Mass/Lucifer, to be sure, but
ultimately it's just not as wild of a recording as legend has painted,
perfectly rendered for a psychedelic Halloween party but hardly strong
enough to raise evil spirits on its own. Garson's Wozard of Iz album is a
freakier Moog ride, a kaleidoscopic retelling of the L. Frank Baum
tale. Line-up / Musicians Mort Garson/All Instruments Discography
Black Mass 1971
1.Solomon's Ring 2.The Ride of Aida (Voodoo) 3.Incubus 4.Black Mass 5.The Evil Eye 6.Exorcism 7.The Philosopher's Stone 8.Voices of the Dead (The Medium) 9.Witch Trial 10.ESP
Sacred Blade
were formed in 1979 by main visionary/singer/song writer/guitarist Jeff
Ulmer and co-founder guitarist Will Rascan. After several demos in 1984
the band began recording for the opus Of the Sun + Moon under contract
with Roadrunner Records but due to label problems and only one record
label being willing to release the record in a deluxe gatefold LP sleeve
(An almost unheard-of thing for any band’s debut release at the time)
the record was delayed another two years released in 1986 on French
“Black Dragon” label. Even for 1986, Of the Sun + Moon was a pretty
unusual and progressive album; a lot of the riffs are pretty much USPM,
but it combines elements of prog rock and frequent acoustic passages
with a very "cosmic" tinge to them, as should be evident from the album
name.This album flows exceptionally well and although the individual
songs are quite noticeable if you analyse the album it is constructed in
such a way that songs connect in an effortless almost conceptional
fashion. Songs like Salem and Master of the Sun make for great high
octane headbangers while Of the Sun and Moon and The Pressing offer a
more dream like cruise experience through alien landscapes. Musically
Sacred Blade paints a picture akin to Roger Dean’s other-worldly
paintings, A very beautiful surreal experience. Sacred Blade were a very
unique and incredibly ahead-of-their-time band, when you think about
it. Line-up / Musicians Jeff Ulmer/vocals,guitar,bass,keyboards Will Rascan/guitar Paul Davis/drums James Channing/bass Discography Of the Sun + Moon 1986
1.The Shortest Song 2.Ayltuthus I 3.Of the Sun + Moon 4.Fieldz the Sunshrine 5.Salem 6.The Reign of Night Rainz 7.Legacy 8.To Lunar Windz 9.The Enlightenment/Masters of the Sun 10.The Pressing 11.In the Light of the Moon 12.Moon
