Led by female/male vocals and rich harmonies…The Chicago hippie crew “String Cheese” could have been the next “It’s A Beautiful Day” with proper backing and encouragement. Like that San Francisco band, String Cheese’s sound was steeped in sparkling hippie subject matter, strongly delivered by chanteuse Sally Smaller and aided by electric violin & acidy guitar leads.Unfortunately, their debut album was also their last. Lead, 12-string guitarist and co-vocalist Lawrence Wendelken wrote most of the songs on String Cheese, and there are some truly tasteful arrangements contained within. “Soul Of Man”, for example, benefits from lush, live arrangements with folksy acoustic guitar picking and sparse drums, while a Larry and Sally voice trade offs and harmonies shine on the winding road that is the human experience. Line-up / Musicians John Maggi/Drums Gregory Bloch/Violin Louis Constantino/Bass William Dalton/Organ,Piano,Celeste,Guitar Sally Smaller/Vocals Larry Wendelken/Guitar,Vocals Discography(Album) String Cheese 1971
1.For Now 2.Crystal 3.We Share 4.Here Am I 5.Empty Streets 6.Forage 7.Soul of Man 8.Certain Kind of Day 9.Woke Up This Morning/Coming 10.Coming
Emma Myldenberger have a unique sound, essentially acoustic, mixing various elements from authentic pagan folk to medieval and psych-progressive rock. The exact history behind this band is vague, admitting only a few indications. Their first album was probably released in 1978. Musical themes are closed to ancient music, ritualistic in nature. The instrumentation essentially refers to a nice orchestration made of guitars, oboe, ocarina, mandolin, crumhorn, hand percussions, with addition of a fragile female voice and an almost eastern-like exoticism. Their second album called "Tour de trance" is considered to be one of the most achieved psych-folk listening. A very ambitious effort made of high quality kraut-folk improvisations. After two releases the band formed the Radio Noisz Ensemble (Third Ear Band, Between similar musical experiences). Line-up / Musicians Biber Gullatz/winds,guitars,glockenspiel Gaby Kinscherf/vocals,glockenspiel,percusssion Reines Pauker/guitars,vocals Michel Meyer/Guitars,Sitar, vocals Anne Gosslau/banjo,vocals,flute Topsi Tkacz/bass,guitar,vocals Discography(Album) Emma Myldenberger 1978
1.Narrentanz 2.Oboenstuck 3.Emmarokkoko 4.Unter der linden 5.Fraw emma Myldenberger 6.Opus IV 7.Eines morgens 8.In meines vaters garten
Named for a French town whose name in turn refers to "prosperous fountain/source", Aigues Vives was formed in 1971 in the part of Germany close to the Belgian border. Initially, they were influenced mostly by the progressive rock of their day, but several purges and reformations cast them as a mostly acoustic folk group with plenty of progressive touches. Not particularly German sounding, they nonetheless do bear some comparison to early Hoelderlin, Broselmaschine, or even Emtidi. It was the third incarnation that finally committed a recording to posterity. Water of Seasons was released in 1981 and is an entrancing and trippy yet rooted disc that appeals across a broad spectrum of prog folk, psychedelic, and German progressive fans. It was released in a limited edition of 1000 copies and commands a healthy price among collectors. Line-up / Musicians MIchael Wolff/guitar,guitar,keyboards Roland Enders/vocals,guitar,mandolin Paul Possart/violin,vocals Hendrikje Horn/flute,vocals,percussion Karl Beck/bass,guitar,vocals Franz Kremer/flute,guitar,banjo,vocals Eva Kullmer/flute,saxophone,synthesizer,keyboards,vocals Richard Bellinghausen/drums,percussion Discography(Album) Water of Seasons 1981
1.The Accident 2.Heroes 3.Dent Du Geant 4.Night 5.Flying Fortress 6.Water Of Seasons 7.Mediterranean Journe 8.Planet Of Dreamers
As one of the two most important bands to blend traditional British folk music and rock - the other being the legendary Fairport Convention - STEELEYE SPAN represented both the revival of this music in Britain and its ventures into contemporary times. Completely authentic but with a modern spark their peers never quite matched, the ensemble's development was one of the most evolving in popular music. By 1969, an electrically charged Folk scene had fully emerged in England. That year after a road accident in which their drummer was killed, singer Sandy DENNY and FAIRPORT CONVENTION recorded 'Liege and Lief', a project led by bassist Ashley HUTCHINGS and Richard THOMPSON's startling electric guitar. The album would influence an entire movement though the group was divided about this direction and split, FC proceeding without HUTCHINGS or DENNY. Ashley HUTCHINGS carried on and after a good first rehearsal with established Folk duo Maddy PRIOR & Tim HART and husband and wife team Terry & Gay WOODS, a first incarnation recorded STEELEYE SPAN's the group's name is taken from a character in Lincolnshire ballad 'Horkstow Grange' debut in 1970, 'Hark! The Village Wait'. Comprised of trad. Folk with the added dimension of HUTCHINGS's bass and guest drummers Gerry CONWAY and Dave MATTACKS, the album is also noted for the dual female vocals of PRIOR and WOODS. Terry and Gay WOODS were replaced that year by veteran guitarist/singer Martin CARTHY and violinist Peter KNIGHT. This line-up recorded 'Please to See the King' (1971) and 'Ten Man Mop, or Mr. Reservoir Butler Rides Again' (1972), LPs unique in their use of hard rock colors. By late 1972, CARTHY and founder HUTCHINGS left to pursue more purist Folk avenues. Guitarist Bob JOHNSON and bassist Rick KEMP were brought in and provided an expanded hard-blues sound to Steeleye, and the group secured a new contract with Chrysalis which released their fourth, 'Below the Salt' in late '72. Further cultivating electric blues but always showcasing traditional Celtic and folk, some numbers dating back over a hundred years, 1973's 'Parcel of Rogues' was released and later that year the band drafted rock drummer Nigel PEGRUM [GNIDROLOG,URIAH HEEP,SMALL FACES]. Having supported fellow Chrysalis act JETHRO TULL several times, it was fitting that Ian ANDERSON helped produce Span's sixth LP 'Now We Are Six' (1974) which included an appearance by David BOWIE on saxophone. After 1975's 'Commoner's Crown' (featuring Peter SELLARS on ukulele for one cut), STEELEYE SPAN's next record 'All Around My Hat' would yield their biggest chart success with the title song reaching #5 in the U.K. Their eighth studio effort 'Rocket Cottage' was released in 1976 and by '77 Bob JOHNSON and Peter KNIGHT had left. For 'Storm Force Ten' earlier member Martin CARTHY rejoined on guitar and after this period, members tended toward other projects, solo outings or different ventures entirely.Since their glory years the band has reformed several times; 2002 saw the classic line-up gather to release 'Present', a 2-disc set of new re-recordings, and 'They Called Her Babylon' was released in 2004 which featured a return of Maddy PRIOR. In 2008 there was a UK tour and a new album in 2009 to commemorate STEELEYE SPAN's forty years making music. Line-up / Musicians Tim Hart/vocals,guitar Maddy Prior/vocals Peter Knight/violins,mandolin,banjo,piano Rick Kemp/bass Bob Johnson/guitar Discography(Album) Below The Salt 1972
1.Spotted Cow 2.Rose Bud In June 3.Jigs: The Bride's Favorite, Tansey's Fancy 4.Sheep-Crook And Black Dog 5.Royal Forester 6.King Henry 7.Gaudette 8.John Barleycorn 9.Saucy Sailor
Judy Kelly grew up in Dallas, Texas. She started singing at age 2 and always dreamed of singing professionally. Judy’s parents purchased her first guitar when she was 11. Her first songs were about school and the Beatles but as her lyrics and music matured, folk and folk rock became her main musical influences.In the late 1960s, Judy began playing at folk clubs and on the college coffee house circuit. She also started singing with a garage band adding vocals to lyrics written by other band members.In the summer of 1974, Judy asked several of her musician friends to work on a project which became the album Window. Window was released locally and the title song was picked up by Word records and included in a collection album.This fabulous folky/psych album from the ‘70s is yet another example of another great album that fell through the cracks in the musical pavement. Line-up / Musicians Judy Kelly/Vocals,Piano Deni Kington/Harp Ed Helbing/Guitar Guy Moore/Drums Lisa/Contrabass Lela/Violin Cynthia/Violin Alan Steven/Guitar Bobby Dennis/Keyboards Liz Volk/Piano Discography(Album) Window 1974
1.Silver 2.Noah 3.Lullaby You 4.Day Star 5.Comfort Me 6.Happy To See You 7.Jamie 8.Beginning 9.The Magician 10.You Can Pray 11.Window 12.Shine 13.Jenny’s Song 14.The Garden
Spanish singer and songwriter Miguel Ríos was born in June 1944. As a student, Ríos grew closer to his passion by singing with his school's chorus and listening to the radio every time twist songs were on the air. By working at a music store, Ríos had the opportunity to meet people related to the local music scene who gave him a chance to start singing in front of an audience, starting as a backup singer. After recording a demo, he decided to send it to a major label in Madrid, choosing Philips. The waiting ended in 1961 when the artist was contacted by the label. That same year, Ríos moved from Granada to the Spanish capital city, recording an EP called El Twist in 1962 as Mike Rios. Two years and six EPs, Ríos was starring in his first movie, called Dos Chicas Locas, Locas. In 1965, the singer left Philips, and after working temporarily with Sonoplay, Ríos signed up to Hispavox, releasing the smash hit single "Rio," and later his first full-length, Mira Hacia Ti. In May 1970, a second album came out which included "Himno a la Alegria," based on Beethoven's ninth symphony; it became Ríos' first song to reach the Billboard charts. After leaving Hispavox during the mid 70's, Miguel Ríos released a string of albums that fall into the progressive-symphonic category. What he did before and after this trilogy does not, as far as those brave enough to have heard Ríos' discography claim.The first part of the trilogy was the Memorias De Un Ser Humano album. Among with the remaining two, it saw the light of day on CD not before 2005, sandwiched in a double compilation called "Miguel Vol. 3 - Historia De Una Búsqueda (1974-1977)" ("Miguel Vol. 3 - Story Of A Search (1974-1977)"). It also included an unreleased track, "The Boy That Didn't Get Born" (real title). Line-up / Musicians Miguel Rios/vocals Antonio Perez/Guitars Johnny Galvao/Guitars Mariano Diaz/Keyboards Teddy Bautista/Keyboards Tito Duarte/Percussion,drums David Waterstone/Harmonica Discography(Album) Memorias De Un Ser Humano 1974
1.Viviras tanto (como tengas ganas de vivir) 2.El juglar 3.La mina 4.Buenos dias 5.Por si necesitas 6.Sweet California 7.Desde mi ventana 8.Memorias de un ser humano
Duo formed by Jordi Batiste (cult artist who played in the legendary catalan psych/proto prog band Máquina! and Grup De Folk, among others) and Ia Clúa (ex-member of the mega obscure catalan proto prog band Estratagema). Their discography consists in two studio LP's (plus a couple of live ones), albeit only the first of them is the most memorable of the two: it is an eclectic cult album, highly praised even by foreign music lovers. The second one, "Chichonera's Cat", lacks both the progressive elements as well as that mystic aura that makes "Un Gran Día" a cult work. Line-up / Musicians Ia Clúa/vocals,Guitar,Piano,Bass Juan Soriano/percussion Jordi Batiste/Bass,Vocals,Guitar Max/Vocals,Guitar Discography(Album) Un gran día 1972
1.Un gran dia 2.Max 3.Sifón 4.Sleeping Rock 5.Oliba 6.Amèrica to you 7.Pallarès 8.Sky into the bus 9.Anna 10.Morrisong
Of all the Basque "folk" groups, Lisker might be the one least Basque folk (bar the hard rocking Sakre), but it is certainly not the least interesting, on the contrary. While their folk roots can still be heard (at times), it is clear that Lisker preferred a good hard-rocking psych rock, powered by a fuzz guitar and a gorgeous flute. This double guitar and flute quintet recorded a sole eponymous album in 79, released on the second Basque label Xoxoa and sporting an intriguing old window artwork. The quintet is build around Ernesto Gomez (ac guitar and vocals), and develop a mainly instrumental high energy prog filled with enthralling solos and good interplay, which can be anachronistic given that it comes a decade lateObvious comparisons to early Jethro Tull are correct, but one might want to think also of De De Lind in the heavier moments. Actually the crystal-clear and crisp flute answers brilliantly to the over-powering fuzz bluesy guitar. While often rocking hard, the album knows how to respect a truce: the lovely acoustic arpeggios of Ametz Jazarriak are a pure joy, and the build up is very impressive. This is easily the opening side's highlight, but the other two tracks are both excellent. Indeed Bakardade Tristea starts on acoustic arpeggios and a flute (worthy of Genesis' Tresspass), before the group enters and Gomez's singing, fitting well the group's psych feel but not really meaningful lyric-wise, and Alberdi's soaring guitar send the track on orbit into your mind. The flipside has only two tracks, the heavy-riffing Garajeko Melodia, which develops is a wild jam (some lengths are observed, but nothing worth recriminating about), and the even lengthier finale which holds some excellent interplay, but is also slightly demonstrative, but again nothing to be worried about: this is more suited to the early 70's than the early 80's. Line-up / Musicians Julian Alberdi/guitar Jabier Zabala/bass Jesus Gil/flute Ernesto Gomez/guitar Jose Antonio Salado/drums Discography(Album) Lisker 1979
1.Kalean festa 2.Amets jazarriak 3.Bakardade tristea 4.Garajeko melodia 5.Eldarniotik iheska
Labanda was a Spanish musical group Celtic music and folk-rock, originally from Madrid. Although the end of their career they recorded a song, its most characteristic repertoire consists of traditional instrumental pieces or traditional inspiration, as evil dreams, arranged in a nearby Gwendal of French style. The group, which was called at first band Rory McGregor, was founded in 1979 and dissolved in 1986 returned in 1987 with another formation. Line-up / Musicians Luis Silva/mandolin,viola Joaquín Blanco/flute,percussion José María Silva/bass Pedro Guerrero/guitar,percussion Jean François André/violin Tony Vázquez/drums Discography(Album) Fiesta campestre (Rockmería) 1981
1.Fiesta campestre 2.La mujer del músico 3.La vaca 4.Rockmería 5.Un camino de cerveza 6.Filomena 7.Los padres ya están aquí 8.Celtas con filtro 9.No mires ahora
The history of Contraluz started in 1969 in Buenos Aires, initially playing Beat Music with brothers Carlos (guitars) and Nestor Barrios (drums) along with bassist Diego Prochnik.After abandoning the names ''Lemon'' and ''Celofan'', they chose the Contraluz moniker and played in a Jethro Tull style by the beginning of the 70's.The unstoppable presence at several concerts, festivals and competitions earned them a wider recognition and in 1973 the band recorded the debut ''Americanos'' for EMI Records with Alvaro Canada on vocals and early member Alejandro Barzi on flutes.Contraluz'es music mixed the raw power of Rock music with the delicacy of Spanish vocals and the flute-based drives to come up with an album very close to the sound of early JETHRO TULL or even better JUMBO and OSANNA.Most of the tracks combined the psych-tinged flavor of Latin-American Rock bands with warm vocals and sensitive guitar work with the sharp edge of powerful flute solos, Hard Rockin' guitars and a strong rhythm section and the result is an album dangerously balancing between the softness of a singer/songwriter album with the extreme forces of in-your-face Hard Rock.The great energetic grooves with plenty of edgy guitar solos and dynamic flute work will leave you wanting for more. The more mellow vocal parts appearing in between are also nice with Cavada having a lovely style of singing, while the flute passages have a welcome and very attractive folky flavor. Line-up / Musicians Carlos Barrio/guitars Nestor Barrio/drums Alvaro Canada/vocals Alejandro Barzi/flute,keyboards Freddy Prochnik/bass Discography(Album) Americanos 1973
1.Indios Sin Prisión 2.Sin Trabajo 3.No Sea que Caigas Mendigando 4.Clave de Sol 5.La Sarna del Viento 6.El Charco 7.Abrir el Día 8.Seamos
Andre Fertier's Clivage released 3 albums from 1977 to 1985. The sound Clivage portrays might bring to mind, Italian band Aktuala for their similar use of eastern influence. Clivage fused together jazz, eastern and Indian influences creating a mesmerizing instrumental mixture. Listening to the music can offer the listener the opportunity of going into trance-like state with the droning atmosphere. With such instruments as tabla, saxophones, violin, acoustic guitar and synthesizer they deliver a compelling and rich sound, gentle melodies and magical mood. The music will please those looking for a meeting of musical cultures. Mixtus Orbis is Clivage's unmistakable awesome release. Definitely a reminiscence of best things ever offered in fusion jazz but all the elements are sublimated into a high class ethno-epic symphony. This is almost exclusively instrumental, making a large part to a brass ensemble. Technical, jazzy felt piano playing also have a great mention. Andre Fertier's keyobards parts are very similar in style to Cyrile Verdeaux's (Clearlight) in his most symphonic moments. This musical adventure is divided into different movements but composed as one long title, without transitions. It starts as a structured, catchy epic symphonic, majestic composition (with classic piano playing, almost medieval brass sequences) then it carries on an obsessed, uncontrolled jamming session, including ethnic percussions, splendid, grandiose oboe / sax combinations, always in a very symphonic, prog-y jazz mood. Some "spectral" female voices are added to the mix during the last movement. Line-up / Musicians Armand Lemal/perucssion Patricio Villaruel/tablas Andre Fertier/guitar,keyboards Jean Pierre de Barba/saxophone Claude Duhaut/bass Mahmoud Tabrizizadeh/violin Jean Querlier/oboe,sax,flute Michel Delaporte/tabla Claude Salmieri/drums Brigitte Toulson/vocals Discography(Album) Mixtus Orbis 1978
1.Mixtus Orbis 2.Eudjal 3.Fatoum Astris 4.Youssoufia
Relatively unaware from the rest of the planet, South Africa apparently had their own rock scene in which a few groups evolved in the scope of ProgArchives, the first being Freedom Children and here, Hawk. Indeed the apartheid was an important factor running the country and the generally well-respected boycott made that a few artistes left the country (ie: Manfred Mann), but others remained and fought the Apartheid in their own manner. Whether Hawk really did so is anyone's guess, but the strong black African music sprinkled all over their music does give a hint they did. Hawk was a group that was apparently managed from afar by Lonstain, but the problems were numerous between artistes and producers. The Johannesburg quintet was formed Dave Ornelias (ac guitar, vocals) and Keith Hutchinson (winds & Kb) and comprised also guitarist mark Khan, bassist Richard Johnson and drummer Braam Malherbe (most likely a descendant of Huguenot, but no relation to the great Didier). The five musicians studied African music throughout a few trips and guest in their rented farm in the outskirts of the city. Apparently the group managed quite a live success based on their song Africa Day, then went on to record it along with more songs to make up their first album called after their success piece, that survived the apartheid Regime's censorship rules. Playing more concerts, the management were often not forwarding the money and by the time the group was readying its second album Africa, She Can Cry Too, the management enforced a line-up change where keyboardist/saxFflurteman Hutchinson and bassist Johnson were given their walking papers. The second album was a very different thing altogether, and the band was apparently able to tour Europe to good acclaim, but to little rewards financially or musically. The group disbanded a while after returning to the country, then reformed a few years later. Line-up / Musicians Dave Ornellas/Vocals,guitar,percussion Mark Spook Kahn/Guitar Braam Malherbe/Drums Richard Johnson/Bass Keith Hutchinson/Sax,flute,piano Dave/Percussion Discography(Album) African Day 1971
1.African Day 2.Happy Man 3.Look Up Brother 4.Love Song 5.Kissed By The Sun 6.Here Comes The Sun
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
Born in Quimper, France on January 15, 1949, guitarist Dan Ar Braz is one of Brittany's most influential and internationally successful recording artists. While his musical lineage is decidedly celtic, during his long career he has fused the tradition with a variety of contemporary styles and even diverged into other territories such as jazz and acoustic folk, while retaining an unerring melodic gift and sense of place. At the age of 18 he encountered the legendary Breton harpist ALAN STIVELL who provided him with a solid grounding in modern vs ancient music but also with a career boost, and Ar Braz eventually played guitar on no less than 7 Stivell albums in the 70s, including many of his most venerable recordings such as "Renaissance de la Harpe Celtique" and "Concert a L'Olympia". In 1976 he briefly joined FAIRPORT CONVENTION although he did not record with them. In 1977 he embarked on his solo career already a seasoned veteran, and produced a stunning instrumental progressive folk epic "Douar Nevez" to kickstart this new phase.The 80s were a darker period for the folk rock revival, but Ar Braz kept busy and self-produced a number of quality efforts showcasing his prowess with all manner of guitar including "Acoustic" and "Septembre Bleu". In the 90s he assembled a cast of hundreds for a serious of smash successes under the banner of "Heritage Des Celtes" which occupied the man and many a bean counter for most of that decade. He has since returned to more intimate solo work, and he continues to record regularly and make live appearances including at FAIRPORT's Cropredy Festival. Line-up / Musicians Dan Ar Braz/guitars Patrig Molard/Flutes,Uillean Pipes,Biniou Braz Benoit Widemann/pianos,Synthethizers,organ Dave Pegg/Bass Michel Santangeli/Drums Marc Chantereau/Percussion Discography(Album) Douar Nevez 1977
1.Intro 2.Retour de Guerre 3.Naissance de Dahud 4.Mort et Immersion de Malguen/Fin du Voyage 5.Naissance de La Ville 6.Morvac'h (Cheval de Mer) 7.Orgies Nocturnes 8.L' Ennui du Roi 9.Les Forces du Mal 10.L' Appel du Sage 11.Submersion de La Ville 12.Douar Nevez (terre Nouvelle)
Trol played quiet folk music comparable to various albums released on the Stoof label. They wrote their own material, but performed them much like traditional folk music. Fairly good albums, although they contained nothing extraordinary. Line-up / Musicians Johan Waegeman/vocals,harmonica,accordion Mark Dickens/guitar,vocals Mark Vanden Bremt/bass,vocals Jan Cool/cister,guitar,mandolin,vocals,flute Geert Waegeman/synthesizers Discography(Album) Trol 1977
1.Gekwezel 2.Zwarte steen 3.Klappeie-Meidendans 4.Restitutie 5.Island 6.Trolblokfloeten 7.Hei,‘t was in de mei 8.Keer van je berg 9.Molenaar 10.Boerenknecht 11.Lierse vlaaikes
ACCOLADE were a short-lived band (1969-1971) whose musical emphasis was on combining acoustic instrumentation and light jazz/fusion arrangements with bucolic British folk lyrics and sensibilities. They released just two albums and a single in their brief tenure, though managed to tour throughout most of their active existence. The original lineup consisted of woodwind player Brian Cresswell, singer/guitarist Gordon Giltrap, drummer Ian Hoyle and guitarist Don Partridge. The band's first album included their most lasting contribution to music in the form of a version of American bassist eden ahbez' (aka George Aberle aka Eden Abba) "Nature Boy", a languid and complex folk tale first recorded by NAT KING COLE in the 1940's, and since covered more than seventy times, including by MILES DAVIS, HARRY CONNICK JR, CELINE DION, JAMES BROWN, JOSE FELICIANO, the GATHERING's Annie Haslam, and most recently by the Greek psych band WILL-O-THE WISP. The song has charted as a single five times in that period. Accolade's second album is well in the line of their debut album, despite Giltrap's departure from the band after a Sweden tour supporting Colosseum, but there are obvious progressions, primarily due to personnel change. A better-produced album than its predecessor, but sporting another collage artwork, this album didn't get a US release as its predecessor had, but the group's fairly different line-up also provide some change. Apart from a different bassist and Giltrap's lead guitar (replaced only partly by Wizz Jones), there are a few keyboards interventions as well.The songs have bluesier-folk spectrum than in the debut album, starting with the amusing and opening Transworld Blues so much of the Moody Blues feel of their debut is gone. The tracks are more like Gravy Train this time around, including the odd William Taplin and the closing Long Way To Go (with all too rare piano). But once again, it is the mammoth 11-mins, Cross Continental Pandemonium Theatre Company that grabs most of the proghead's attention with flutes, vibes, bowed bass. It's definitely not the album's only good track, though! Indeed Snakes In A Hole or Spyder To The Spy also good enough for a mention. Line-up / Musicians Malcolm Poole/contrabass,fiddle Ian Hoyle/drums Brian Cresswell/flute,saxophone Wizz Jones/vocals Mike Moran/piano Don Partridge/vocals,guitar,vibraphone Discography(Album) Accolade 2 1971
1.Transworld Blues 2.The Spider to The Spy 3.Baby, Take Your Rags Off 4.Cross Continental Pandemonium Theatre Company 5.Snakes In a Hole 6.The Time I´ve Wasted 7.Sector Five Nine 8.If Only I´d Known 9.William Taplin 10.Long Way to Go
