Marco Salzano

They're not exactly the best Camel. However, considering what Genesis and Yes were releasing at the same time, the Camel still "held their own" even with an album that's a bit lackluster like this one. That said, the title track is one of the best pieces, and Latimer's solo has its reasons.

More known for being the first group of Red Canzian and for being one of the leading bands of BLA BLA, the legendary label of early Battiato, who, if I'm not mistaken, also wrote a song for them. The musical quality is good, while the sound quality is really terrible.

Although Caravan reached their full maturity starting from In the Land of Grey and Pink, I have a soft spot for this album where their melodic fantasies still live in a middle ground between psychedelia and prog, always With An Ear To The Ground.

Sounds from Middle Earth, on the border between psychedelia (the dreamlike Magic Man, the sinister Cecil Rons) and prog (Where But For Caravan Would I?), following in the wake of the Floyd and early Soft Machine. But rather than sabotaging them, Caravan enhances the melodies by layering vocal harmonies over the sound of the organ, with a precise rhythm section and flute in Love Song With Flute. A Place of My Own and Hello Hello are two excellent singles. The Saharan flavor of Ride justifies the band's name.

The first album for ECM by Chick Corea's group shifts away from Davis' Jazz Abstractions toward a more ethereal and melodic sound, slightly foreshadowing the fusion of Weather Report post-'76. Following him are the trusty Stanley Clarke, Joe Farrell, and the Moreira couple (Airto and Flora Punim) who bring a joyful Brazilian scent (e.g., in the bossa What Game Shall We Play Today) that wonderfully blends with Corea's light yet caliente touch on the Fender (as in the flamenco ecstasy of La Fiesta).

A milestone of English dark folk, this long and winding concept is the culmination of the spiritual quest of the multifaceted David Tibet, who transcends the concept of death and renounces the false earthly world towards a new revelation of Christ (“This Shining Shining World”). Musically, it is also the apex of their mystical and visionary post-industrial madrigalism.

A noteworthy debut (with one of the first picture discs) from the English group featuring a new formula for progressive rock with original harmonic solutions (the mysterious Situations or Blind Man reminiscent of White Bird by It's a Beautiful Day) and unprecedented arrangements (see the mix of violin and wah-wah guitar in It Happened Today and Stretch). The instrumental Vivaldi is a classical reinterpretation in the style of the Nice, culminating in a series of dissonances and futuristic effects.

Launched by the success of the single Back Street Luv (4th in the UK), this Second Album is evenly divided between Way and Monkman, with the former's tracks being more balanced and structured (whether they are romantic lieder like Jumbo or ethereal puppet dances like Puppets) and the latter's being more bizarre and irregular (the dark humor of Bright Summer Day '68) but also more ambitious and experimental (the stunning final Piece of Mind in which Kristina brilliantly recites some lines from Eliot).

Partially successful attempt by the new Curved Air with Way and Kristina (featuring a young Stewart Copeland on drums) to reinvent themselves in pop with a substantial and stylish album of high erotic content, but all in all, somewhat unoriginal. After duly paying tribute to Joplin in the gritty Woman On A One Night Stand, Kristina is nonetheless irresistible in the sultry Dance of Love, the light bossa Day Breaks My Heart, and the exhausting title track.