CAMEL - Breathless (1978-2013) SHM-CD / FLAC (image+.cue), lossless

With Rain Dances, Camel began exploring shorter, more concise songs, but it wasn't until its follow-up, Breathless, that they truly made a stab at writing pop songs. Although they didn't completely abandon improvisational prog rock – there are several fine, jazzy interludes – most of the record is comprised of shorter songs designed for radio play. While the group didn't quite achieve that goal, Breathless is nevertheless a more accessible record than Camel's other albums, which tend to focus on instrumentals. Here, they try to be a straightforward prog rock band, and while the results are occasionally a little muddled, it is on the whole surprisingly successful. by Daevid Jehnzen

Tracklist:

1. Breathless

2. Echoes

3. Wing and Prayer

4. Down on the Farm

5. Starlight Ride

6. Summer Lightening

7. You Make me Smile

8. The Sleeper

9. Rainbow's End

RENAISSANCE - Ashes Are Burning (1973-1991) APE (image+.cue), lossless

With electric guitarist Andy Powell sitting in on the title track, Renaissance delivered its best, and first fully formed album, mixing Russian, French, and Indian influences in musical settings that are both lively and elegant. The title track is one of the few lengthy progressive-rock pieces of the era that holds up, and the rest of the material runs the gamut from folk ("Carpet of the Sun") to Impressionist ("At the Harbor"), all of it hauntingly beautiful and enlivening. Reissued in 1993 by One Way Records, with excellent sound. by Bruce Eder

Tracklist:

1 Can You Understand 9:51

2 Let It Grow 4:11

3 On The Frontier 4:54

Music By – McCarty

4 Carpet Of The Sun 3:34

5 At The Harbour 6:50

6 Ashes Are Burning 11:24

Guitar – Andy Powell

Credits:

Acoustic Guitar – Michael Dunford

Bass, Vocals – John Camp

Drums, Percussion, Vocals – Terence Sullivan

Keyboards, Vocals – John Tout

Vocals – Annie Haslam

Written-By – Thatcher, Dunford (tracks: 1, 2, 4 to 6)

RENAISSANCE - Turn of the Cards (1974-1994) APE (image+.cue), lossless

The third album by this incarnation of Renaissance was a match for their previous success, Ashes Are Burning, with equally impressive performances and songwriting and a few new musical twists added. The songs here fit more easily into a rock vein, and the prior album's folk influences are gone. Turn of the Cards rocks a bit harder, albeit always in a progressive rock manner, and Jon Camp's bass and Terence Sullivan's drums are both harder and heavier here, the bass (the group's only amplified instrument) in particular much more forward in the mix. This change works in giving the band a harder sound that leaves room for Jimmy Horowitz's orchestral accompaniments, which are somewhat more prominent than those of Richard Hewson on the prior album, with the horns and strings, in particular, more exposed. Annie Haslam is in excellent voice throughout, and finds ideal accompaniment in Michael Dunford's acoustic guitar and John Tout's piano. The writing team of Dunford and Betty Thatcher also adds some new wrinkles to the group's range -- in addition to progressive rock ballads like "I Think of You," they delivered "Black Flame," a great dramatic canvas for Haslam and Tout, in particular; and "Mother Russia" is a surprising (and effective) move into topical songwriting, dealing with the plight of Alexander Solzhenitsyn and other victims of Soviet repression (you had to be there in the 1970s to realize what a burning issue this was). And then there were the soaring, pounding group virtuoso numbers like "Things I Don't Understand," which managed to hold audience interest across nine or ten minutes of running time. by Bruce Eder   

Tracklist:

1 Running Hard 9:34

Composed By [Opening Piece Of Running Hard] – Jehan Alain

2 I Think Of You 3:05

3 Things I Don't Understand 9:29

4 Black Flame 6:25

5 Cold Is Being 3:01

Composed By – Albinoni

6 Mother Russia 9:19

Credits:

Acoustic Guitar [Acoustic Guitars], Vocals – Michael Dunford

Arranged By [Musical Arrangements By] – Renaissance 

Arranged By [Orchestral Arrangements By] – Jimmy Horowitz

Bass Guitar, Vocals – John Camp

Composed By – Betty Thatcher, Michael Dunford

Drums, Percussion, Vocals – Terence Sullivan

Keyboards – John Tout

Vocals – Annie Haslam

RENAISSANCE - Scheherazade and Other Stories (1975-1994) WV (image+.cue), lossless

This album was the group's magnum opus in the perception of many onlookers and fans, and it still plays well, though its flaws are more evident than they were at the time. The "Song of Scheherazade," really a suite for the group supported by the London Symphony Orchestra and a chorus, started with guitarist-composer Michael Dunford, who had a personal fascination with the medieval literary work Tales of 1,001 Arabian Nights, and was realized by Dunford and his composing partner Betty Thatcher, with bassist Jon Camp and pianist John Tout. The piece, really nine sections assembled together, was one of the more ambitious works to come out of the progressive rock boom -- it fits together nicely and does have some gorgeous passages and many lyrical, powerful sections, although it also seems slightly repetitive, overstaying its welcome somewhat; additionally, it never uses the orchestra quite as effectively as one senses it might have, for anything except embellishment. Less ambitious and more completely successful are "Ocean Gypsy," "The Vultures Fly High," and "Trip to the Fair" on side one, all relatively unpretentious pieces which feature extraordinary singing by Annie Haslam. by Bruce Eder  

Tracklist:

1 Trip To The Fair 10:51

2 The Vultures Fly High 3:04

3 Ocean Gypsy 7:05

Song Of Scheherazade (24:37)

4.1 Fanfare

4.2 The Betrayal

4.3 The Sultan

4.4 Love Theme

4.5 The Young Prince And The Princess As Told By Scheherazade

4.6 Festival Preparations

4.7 Fugue For The Sultan

4.8 The Festival

4.9 Finale

Credits:

Acoustic Guitar, Vocals – Michael Dunford

Arranged By – Renaissance 

Arranged By [Orchestral Arrangements] – Tony Cox

Bass, Vocals – John Camp

Drums, Percussion, Vocals – Terence Sullivan

Keyboards, Vocals – John Tout

Lead Vocals – Annie Haslam, John Camp (tracks: 4.3)

Producer – David Hitchcock, Renaissance 

Written-By – Betty Thatcher, Tout (tracks: 1, 4.1, 4.6, 4.7, 4.9), Camp (tracks: 4.2, 4.4, 4.6, 4.9), Michael Dunford

TRACE - Discography 3 Albums 1974-76 / 5CD (2014) LIMITED EDITION / FLAC (tracks), lossless

Rick van der Linden's father was a pianoplayer, so it was not a surprise that young Rick took piano-lessons. Later he started to learn playing the organ and finally he went to the Haarlem Conservatory. He played in many bands and nightclubs and was impressed by Brian AUGER and Keith EMERSON. Rick got worldwide recognition with the 'classic-rock formula' from EKSEPTION but he wanted his own band to show his keyboard pyrotechnics. He founded TRACE with bass player Jaap van Eik (CUBY AND THE BLIZZARDS, The MOTIONS, SOLUTION, LIVING BLUES) and drummer Pierre van der Linden (TEE SET, BRAINBOX, FOCUS), a real Dutch supergroup! Now he got the opportunity to work out his own ideas with keyboard-dominated symphonic rock. In '74 TRACE released their eponymous debut-album, in '75 their second entitled "Birds" (Ian Mosley had replaced Pierre van der Linden) and in '76 their third and final "Ladies". TRACE is a kind of Dutch equivalent to early ELP but Rick has a wider array of keyboards, including Hammond B3 organ, Hohner clavinet and pianet, ARP - and EMI synthesizers, harpsichord, Solina string-ensemble, Mellotron and church organ. He even used the sound of a bagpipe! The music is a treat for fans from bands like The NICE, ELP, TRIUMVIRAT and early LE ORME. Despite good albums, great concerts and worldwide recognition, Trace didn't work out the high expectations and the 'supertrio' dissolved in the late Seventies. Nowadays Jaap van Eik is chief-editor from the technical based music magazine Music Maker and Rick is after many years again on tour with a new EKSEPTION line-up, including a magnificent digital church organ and his wife on vocals.

The first two albums "Trace" and "Birds" (released on CD with bonustracks by Musea Records) deliver exciting, often sumptuous, keyboard driven symphonic rock: the mainly instrumental music is loaded with virtuosic keyboard runs, swirling Hammond organ and majestic Mellotron eruptions from wizard Rick van der Linden, supported by a powerful and propulsive rhythm-section. In my opinion the tracks on "Birds" sound more elaborate and refined. The epic composition "King-bird" (featuring Jaap van Eik on electric guitar) showcases the hugh potential of TRACE: dazzling keyboard runs, many changes of climate and dynamic interplay. The third album "Ladies" is a lacklustre effort, the band was running out of ideas. This record turned out to be their swansong. Progarchives

1974 - Trace [Philips] 2014, Pseudonym [2CD]

This is the first release by the Dutch group Trace, formed in 1973 by keyboardist Rick van der Linden (previously the leader of Ekseption) with drummer Pierre van der Linden (from the group Focus) and bassist Jaap van Eik (with various groups). As expected, van der Linden's keyboards pretty much dominate the session, which is a decent effort by progressive rock standards. "Galliarde" blends part of Bach's "Italian Concerto in F major" (BMV 971) with a traditional Polish dance that originated in the 13th century. This piece incorporates a small pipe organ, a Hammond organ, and a mellotron. It segues into van Eik's "Gare le Corbeau" (primarily a feature for electric bass) before returning to a reprise of "Galliarde." Grieg's "The Death of Ace" (from his "Peer Gynt Suite") begins with a piano solo by the leader, before the tedious mellotron returns to simulate a mournful choir; van der Linden's synthesizer playing also leaves a lot to be desired on this track. Among van der Linden's originals on this record, "The Escape of the Piper" blends a touch of jazz with a whimsical inclusion of bagpipes; while "Once" features the keyboardist on organ in an up-tempo blues groove, as well as a bit of electric harpsichord and a good bit of musical humor. Less successful is "Progression," which is a bit long and bombastic, or "The Lost Past," which is an extended drum solo by Pierre van der Linden. While Trace followed up this release with two additional recordings before disbanding, this is their best record. by Ken Dryden  
Tracklist:

Disc 1 [1:16:52]:

1. Gaillarde - Part One (6:23)
2. Gare Le Corbeau (2:05)
3. Gaillarde - Part Two (4:36)
4. Death Of Ace (5:16)
5. Escape Of The Piper (3:11)
6. Once (4:13)
7. Progression (12:04)
8. A Memory - Part One (3:48)
9. Lost Past (3:27)
10. A Memory - Part Two (1:43)
11. Final Trace (3:50)
12. Progress [single version] (4:04)
13. Tabu (4:14)
Bonus Tracks, Previously Unreleased:
14. Bach-Atel [single version] (3:30)
15. Another World [demo] (5:14)
16. Gnome Dance [demo] (5:07)
17. Final Trace [demo] (3:52)
Disc 2 [1:15:27]:
Bonus Tracks, Previously Unreleased:
1. Fairy Tale – Overture (4:48)
2. A Swedish Largo (19:46)
3. Gnome Dance (4:29)
4. Nocturne (6:01)
5. Bach-Atel (4:11)
6. Another World (5:10)
7. Escape Of The Piper [extended version] (5:21)
8. Once [jam] (6:00)
9. A Memory [demo] (8:47)
10. Swedish Largo [demo] (5:49)
11. Once [demo] (4:50)
Credits

- Rick Van Der Linden / keyboards

- Jaap Van Eik / bass, guitar

- Pierre Van Der Linden / drums

1975 - Birds [Philips] 2014, Pseudonym [2CD]

This is the second of three records by Trace, a trio led by keyboardist Rick van der Linden. By the time they recorded their second LP just one year after taping their debut, they had already

undergone a change in personnel, with Ian Mosely replacing Pierre van der Linden on drums. The album's first side is sort of an extended suite, though it is an incongruous mix of pipe organ with a plodding electric bass and drums during "King Bird." "Preacher Bird" features a weak lyric sung with little feeling by bassist Jaap van Eik and has a prominent role for the acoustic piano, although the synthesizer and harpsichord sneak in as well. "Bouree" is taken from Bach's "English Suite No. 2 in A minor" (BMV 807) and is turned into a miniature hard rocker before it deteriorates into a comical midsection with fake bird calls and a tiresome vamp. But "Opus 1065," the leader's interpretation of Bach's "Concerto for Harpsichord and Strings in A minor" (BMV 1065) never picks up sufficient steam, though it features some tasty violin by guest Darryl Way. The one true bright spot of this release is van der Linden's sprightly solo piano arrangement of jazzman Bix Beiderbecke's "In a Mist," which unfortunately is barely over a minute in length. The downhill slide of Trace on this second LP is painfully obvious, so it is doubtful that there is much demand for this long-deleted record. by Ken Dryden  

Tracklist:

Disc 1 [42:46]:

1. Bourrée (2:27)

2. Snuff (2:25)

3. Janny - In A Mist (1:13)

4. Opus 1065 (7:45)

5. Penny (2:42)

6. Trixie-Dixie 0:26)

7. Birds - Suite (21:59)

Bonus Track:

8. Birds [single version] (3:39)

Disc 2 [50:11]:

Bonus Tracks, Previously Unreleased:

1. Birds [live] (5:16)

2. Tabu [live] (11:47)

3. Gaillarde [live] (11:06)

4. King-Bird [live] (2:15)

5. Gaillarde [live] (6:26)

6. Snuff [live] (2:32)

7. Gaillarde – Reprise [live] (3:29)

8. Birds [live] (3:15)

9. Peace Planet [live] (4:02)

Credits

- Rick Van Der Linden / keyboards

- Jaap Van Eik / bass, guitar, vocals

- Ian Mosley / drums, timpani, gong, tambourine

Guests:

- Darryl Way / acoustic & electric violin on "Opus 1065"

- Coen Hoedeman / assorted monkeys on "Bourrée"

1976 - The White Ladies [Vertigo] 2014, Pseudonym

It was painfully obvious that the group Trace was already a memory as this final release was being recorded. Keyboardist Rick van der Linden, its founder, is the only remaining member from either of Trace's previous two records. This LP is a dreadful concept album, van der Linden's musical interpretation of an old Dutch legend about "The White Ladies," which dates from the Middle Ages. Van der Linden recruited a few associates from his old band Ekseption, including bassist Cor Dekker and drummer Peter de Leeuwe, as well as additional musicians. But Harry Schafer's narration is stifling, and singer Hetti Smit's vocals are forgettable, as is all of the original music. The leader's reworking of classical compositions by Beethoven is also of little help. Following this recorded fiasco, it is safe to say that Rick van der Linden and Trace sank without a trace. Skip this turkey.  by Ken Dryden

Tracklist:

1. Legend - Part One (3:29)

2. Interlude - Part One (0:20)

3. Confrontation (2:37)

4. Interlude - Part Two (0:48)

5. Dance Of The White Ladies (1:34)

6. Doubts (3:28)

7. Trace - Part One (0:16)

8. Witches' Dance (2:37)

9. Surrender (2:12)

10. Interlude - Part Three (0:36)

11. Pathétique (2:26)

12. Legend - Part Two (2:19)

13. Interlude - Part Four (0:10)

14. Rescue (3:47)

15. Trace - Part Two (0:26)

16. Back Home (3:18)

17. Meditation {For René} (3:58)

18. Flashback (0:33)

19. Conclusion (3:34)

Bonus Tracks, Previously Unreleased:

20. Matthäus Passion [demo] (2:02)

21. Interlude – Part Two [demo] (0:44)

22. Dance Of The White Ladies [demo] (1:40)

23. Doubts [demo] (3:50)

24. Witches’ Dance [demo] (2:53)

25. Pathétique [demo] (2:56)

26. Legend [demo] (2:42)

27. Interlude – Part Four [demo] (0:14)

28. Back Home [demo] (2:17)

29. Meditation {For René} [demo] (4:16)

30. Flashback [demo] (0:32)

31. Conclusion [demo] (4:45)

32. Back Home [demo] (2:50)

33. Fugue [live] (2:28)

Credits

- Rick Van Der Linden / keyboards

- Cor Dekker / bass

- Peter de Leeuwe / drums

- Dick Remelink / saxes, flute

- Hans Jacobse / additional keyboards

- Hetty Smit / vocals

- Harry Schafer / narrator

ABBHAMA - Alam Raya [1978] LP / Indonesia

It's hard for a band outside Europe or USA to reach the rest of the world and sadly some good material is lost due to the limitations of Asian or African countries, this is the case of ABBHAMA, an Indonesian band who released a cassette in 1978 called "Alam Raya".

The information about them is pretty hard to find being that they were not popular even in Indonesia because as in many countries of Asia, the charts are dominated by native Folk bands and Pop groups mainly from United States and there's a very small fan base for Progressive Rock bands.

ABBHAMA was born in 1977 and was the brainchild of the talented keyboardist Iwan Madjid, who was clearly influenced by Yes, Genesis, ELP and all the Symphonic icons but with also a strong French and Italian influence, the special touch are the lyrics sung in their native language and the clear ethnic influences.

The addition of Oboe by Hendro (That's how the musician is credited) gave them a very special and unique taste. Due to the strong and characteristic Indonesian sound, ABBHAMA could have a place in Folk Prog, but the essence of their music is clearly Symphonic.

Sadly their story ends with the release of Alam Raya, proving once more that you don't only need to be skilled but also require to have the luck of being born in a country with a strong musical industry.

After ABBHAMA disbanded Iwan Madjid and the bassist Darwin formed a more mainstream oriented band named WOW that apparently had more luck in the Indonesian charts releasing three albums. Progarchives
Tracks Listing
1. Kembali (4:37)
2. Asmara (2:57)
3. Alam Raya (3:42)
4. Karam (3:53)
5. Keriadaan Yang Ada (5:24)
6. Terlenia (Instrumental) (3:04)
7. Air (4:34)
8. Malam (3:54)
9. Indonesia (7:40)
10. Ibu (4:16)
Total Time: 44:01
Line-up / Musicians
- Iwan Madjid / piano, vocals
- Oni / keyboards
- Darwin / bass
- Robin / drums
- Dhrama / flute
- Cok B / guitar
- Hendro / oboe

 ABBHAMA - Alam Raya 

[1978] Strawberry Rain / 2014 / CBR320 / scans

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