Velvett Fogg - Velvett Fogg (1969)

From the weird name, as well as song titles like "Yellow Cave Woman" and "Plastic Man," you'd expect something a little more interesting than routine late-'60s British psychedelia. However, that's what you get on this rarity, from a group which gave more prominence to heavy organ riffs than the typical outfit of the era. There's no gripping vision or focus -- "Yellow Cave Woman" is a basic riff and lyric that keeps on going for several interminable minutes without variation; "Come Away Melinda" is an odd hard rock cover of the anti-war folk tune; "Owed to the Dip" is a long formless organ instrumental; and "New York Mining Disaster 1941" a strange, pointless Bee Gees cover. The album meanders so directionlessly that it is kind of weird, but in a boring way.

Crosby, Stills, Nash And Young - 4 Way Street (1971)

Crosby, Stills, Nash & Young had come out of Woodstock as the hottest new music act on the planet, and followed it up with Deja Vu, recorded across almost six months in the second half of 1969 and released in March of 1970, supported by a tour in the summer of that year. As it happened, despite some phenomenal music-making on-stage that summer, the tour was fraught with personal conflicts, and the quartet split up upon its completion. And as it happened, even Deja Vu was something of an illusion created by the foursome -- Neil Young was only on five of the album's ten tracks -- which meant that an actual, tangible legacy for Crosby, Stills, Nash & Young was as elusive and ephemeral to listeners as Ahab's Moby Dick. But then came 4 Way Street, released in April of 1971: a live double-LP set, chock-full of superb music distilled down from a bunch of nights on that tour that more than fulfilled the promise of the group. Indeed, contained on those original four LP sides was the embodiment of everything great that the unique ethos behind this group -- which was not a "group" but four individuals working together -- might have yielded. Each of the participants got to show off a significant chunk of his best work, whether presented alone or in tandem with the others, and the shared repertory -- "Long Time Gone," "Ohio" etc. -- binding it all together as more than a documentary of some joint appearances. Conceptually, it was all as diffuse as the concept behind the group, but musically, 4 Way Street was one of the great live rock documents of its time, a status that the original vinyl retains along with such touchstones as the Allman Brothers' At Fillmore East, the live half of the Cream's Wheels of Fire, and the Grateful Dead's Live/Dead; some of the extended guitar jams between Stills and Young ("Southern Man") go on longer than strict musical sense would dictate, but it seemed right at the time, and they capture a form that was far more abused in other hands after this group broke up. Although Neil Young and Stephen Stills had the advantage of the highest wattage on their songs and their jams together, David Crosby and Graham Nash more than manage to hold their own, not only with some strong and distinctive songs, but also with a strong case that less could be more: they reached the more introspective members of their audience, mostly individually, while Stills and Young wowed the crowds collectively. In many respects, this was the greatest part of the legacy that the foursome left behind, though it is also a bit unfair to stack it up next to, say, Deja Vu, as 4 Way Street had the advantage of all four participants ranging freely across a combined 20 years of repertory.

Magma - Mekanïk Destruktiw Kommandoh (1973)

There is definitely quite a large step from Magma's second LP, 1,001 Degrees Centigrade, to this one, their third. At the same time, MDK represents a transitional period: drummer/composer Christian Vander has definitely abandoned the jazzier leanings of the previous opuses and has now dived head first into martial hymns and a new form of progressive devotional music -- extraterrestrial gospel. But he has also chosen to retain the brass section that gave Kobaïa and 1,001 Degrees Centigrade their signature sound. Therefore, the music has yet to become the relentless rhythmic kaleidoscope that the future would promise. MDK was introduced in the LP's original liner notes (an illuminated delirium by Vander, who rechristens himself Zebëhn Straïn dë Geustaah -- his text, the essence of which is a revelation transmitted to him by the Prophet Nebëhr Gudahtt, is the key text in Magma's mythology) as the third movement of Theusz Hamttaahk, but it was the first one recorded. The previous two movements are "Theusz Hamttaahk" itself, often performed live but not recorded at the time, and Würdah Ïtah, which would become the group's next album. All three album-length pieces share elements (some lyrics, rhythmic cells, and chord sequences), but they are individual stand-alone pieces. MDK showcased for the first time the incredible range of singer Klaus Blasquiz and introduced the ground-moving work of bassist Jannick Top, with and for whom Vander will develop an increasingly rhythm-heavy style, already present here. Between the meticulous developments of "Hortz Fur Dëhn Stekëhn West," the possessed free-form screams in "Nebëhr Gudahtt," and the hymnal chorus of "Mekanïk Kommandöh," MDK is one giant creative blow to the guts, and unsuspecting listeners will be left powerless at the end of its onslaught of mutated funk, pummeling gospel rock, and incantatory vocals in a barbaric invented language. It remains one of Magma's crowning achievements (together with Kohntarkosz) and the best point of entry into Christian Vander's unparalleled musical vision. And if the literary concept bothers you, just ignore it: the music has more than enough power to do without it.

Marc Cohn - Marc Cohn (1991)

Marc Cohn is one of the finest debut albums of the 1990s, and it brought adult piano pop back to the radio. Every song is well-crafted, and Cohn's singalong choruses, introspective lyrics, and vocal stylings reveal his '60s soul and '70s singer/songwriter influences. His voice is rich, but has a roughness that adds emotion when stretching to the upper end of his range while remaining subtle at the lower end. Marc Cohn shows himself to be an accomplished and versatile songwriter, from the uplifting gospel opener "Walking in Memphis," the hit for which he is widely known, to the concluding love letter "True Companion." Cohn has a great ear for melody and a keen eye for detail that immediately grab your attention and reward the listener with repeated plays. The album's highlight, "Silver Thunderbird," is a prime example of Cohn's ability to combine storytelling with an unbelievably catchy chorus. It is not surprising that the songs played on piano work better than those written for guitar; however, the album is surprisingly consistent, even for a debut. This album is worth checking out for any listener who wonders where the tuneful pop and soul of the Big Chill era went.

Siloah - Siloah (1970)

Siloah were a German progressive psych / folk band in the vein of Kalacakra, Langsyne and others "curiosities". A collective hippie musical tribe largely inspired by mysticism, LSD and sexadelism. Their music features a heavy use of stoned vocals (in English), mantric like guitar parts, flute, "ethnic" percussions. Their first drugged item released in 1970 offers a dangerous and imaginative ocean of trippy, perpetual jammings. A bombastic psychedelic explosion in the mood of the best german prog folk releases. The atmospheres are beautifully "acoustic", sometimes dreamy and ethereal but never away from krautrock "primitive" sound. One year later they release an other highly psychedelic item with now more emphasis on keyboards parts. Both records have been re-issued in CD in 1993 on the Lost pipedream label. Today their discography is available at "Garden of delight". An achieved musical experience and a beautiful "acid" folk trip that can ravish fans of krautrock.

Sweetwater - Sweetwater (1968)

Collector's Choice Sweetwater is the only Sweetwater album to feature Nanci Nevins on vocals throughout, and it's hard to get a grip on. Sometimes it's attractive Californian folk-pop-psych not too far removed from the Mamas & the Papas, as on "Through an Old Storybook"; sometimes it's trying for a rock-Baroque-classical-jazz fusion, although the material doesn't match the ambitions of the arrangements. Whether intentionally or otherwise, Nevins' vocals often recall those of Grace Slick, though she isn't as good. On "My Crystal Spider," they seem to be going for a far-out psychedelic sound; the ascending and descending bit of harsh electronics in the middle sounds uncomfortably close to effects employed, earlier and to more effective use, by the United States of America on "Hard Coming Love." When bands, even on their first album, make multiple comparisons to more renowned acts so inevitable that these form the bulk of a review, it's a good indication that the musicians were not in the same league as those they were trying to emulate.

Ktzat Acheret - Nonames (1973)

I would like to recommend one of the better progressive rock bands that was ever created. The Hebrew name of the band is Kzat Aheret (in English this translates to "A Little Different"). But besides the Hebrew name, on the album cover, there is one more name - "Nonames". They are a band that was created in Israel in 1974, by a three very talented musicians and composers; Shem-Tov Levi-flute and voices [mainly], Shlomo Ydov-guitars and voices [mainly], Shlomo Gronich-keybords and voices [mainly]. I write "mainly" because they played many more instruments like drums and string instruments. A very astonishing band for Israel in those days. They were experienced in many progressive styles, like a very sophisticated psychedelic style, with classical and extravagant improvisations and forms, with melodic and dissonant melodies, and with a theatrical style of humor in many episodes, and sometimes were influenced with their own folk music. They used great orchestration. They released their only album in '74 and published many singles. -- Dickmann Ofer (Israeli progressive rock)

*****

By 1973 Israel was involved in the terrible Yom Kippur war, this was a traumatic event for the Israeli nation. After the war, many artists tried to express the trauma. Gronich teamed up with Shlomo Ydov and assisted by several session musicians they recorded a brilliant album under the name Nonames/Ktzat Acheret (A Bit Different). This album reflected some of the pain and anguish of the Yom Kippur trauma and was very varied musically. At this stage strong influence of groups such as Gentle Giant and Mahavishnu Orchestra was reflected in their music, but they added a dose of jazz, classical, avant-garde, Middle-Eastern music and Balkan rhythms and a certain sense of humor. it had many highlights including the 3 instrumentals Shemi's Piece and Quinta which sounded like a symphonic version of Italian band Area and 204 that sounded like Gentle Giant on avant-garde pills, Two Chinese, The Little Prince and Pink Skies. This album is an essential masterpiece of Israeli prog. The band split due to Gronich's departure to USA.