The Best Prog Bands You’ve Never Heard Of (Part Thirty-Seven): Sindelfingen

When it comes to obscure prog bands, these guys might just take first prize. Fifty years ago, four British chaps known collectively as Sindelfingen released their only complete studio album, the delightfully named Odgipig – but only 100 copies were made available. Thanks to the Internet, however, we now have regular access to a particularly rare gem such as this one.

Odgipig, although somewhat inconsistent in places, is a solid and even rather original debut. Unlike many of their prog contemporaries, Sindelfingen forwent the typical keyboard setup and opted instead for a glockenspiel (played superbly by Roger Woods), which lends the album a unique and pastoral sound a la Jethro Tull’s Songs from the Wood. This sound is shaped also by the presence of acoustic guitars and recorder (both played with finesse by Mark Letley), especially on “Today and Tomorrow” and “Perpetual Motion,” the former being, in my humble opinion, the strongest track on the album. Lead singer Richard Manktelow (who also plays guitar) and drummer Roger Thorn are no slouches themselves, however, in their respective roles. Manktelow’s vocals are easy on the ears and Thorn anchors a dependable rhythm section with Letley (who also plays bass; he’s the type of musician who might have been recruited by Gentle Giant).

Sindelfingen enjoyed a brief foray into the prog world before fading into obscurity, but we today can appreciate the little gem they left behind for us. Below is the original album along with some bonus tracks that are also worth a listen.

Steve Hackett Live at the Pabst Theater (11/03): A Brief Review

What else need be said about Steve Hackett on the pages of Progarchy? The man’s well deserved reputation as a stellar and innovative guitarist precedes him, and I do not believe I can add much to the praises already heaped upon him. But I did finally have the good fortune to see him perform last night in downtown Milwaukee’s historic Pabst Theater,* so I thought I would give a brief recap and share a few thoughts:

The first half of the show featured several classic pieces from Hackett’s solo work, including “Ace of Wands,” “A Tower Struck Down,” “Camino Royale,” and (my personal favorite) the concluding instrumental section of the epic “Shadow of the Hierophant.” The veteran guitarist’s deft hands needed no warming up: he was electric from the first note. His supporting cast (the usual – Sylvan, King, Townsend, Reingold, and Blundell) was also superb, and I especially enjoyed Jonas Reingold’s funky bass solo in the middle of “Camino Royale.”

Set Two was dedicated to Foxtrot. As soon as Roger King opened with the haunting Mellotron notes of “Watcher of the Skies,” the audience knew it was in for a brilliant second half. Nad Sylvan’s caped figure and glowing red eyes, hearkening back to the theatrical performances of Peter Gabriel, next appeared on a heightened platform in between the drums and keyboards. But Sylvan is far more than a quirky accessory: his vocals were on point the whole night. The following tracks, although arguably lesser known, were nonetheless played with as much gusto as all the others. And then came the beautiful “Horizons,” the classically-inspired piece I consider “the calm before the storm.”

As soon as “Horizons” concluded, an excitable chap shouted, “I wonder what you’re going to play next!” And as we all laughed, he was answered with the opening words of “Supper’s Ready,” the twenty-three minute long epic concerning good and evil. The band, fittingly, delivered what was an epic performance. I am grateful to have been in attendance.

Hackett is clearly still going strong at 73. His website features an extensive list of tour dates for 2024, so keep your eyes peeled and ears open for an opportunity to see him work his magic on stage. Here’s to many more years of Steve Hackett!

*A brief and embarrassing disclaimer: I left at the end of “Supper’s Ready” and so failed to hear both “Firth of Fifth” and “Los Endos.” I am currently sick with a cold and I also hate crowds, but I am still kicking myself for leaving when I did. Mea culpa. Please forgive this hasty Progarchist!

All Hallows’ Eve

Welcome to October Country

A hauntingly beautiful time of year….

The Best Prog Bands You’ve Never Heard Of (Part Thirty-Six): Fireballet

Progressive rock + Mussorgsky = symphonic prog epic. That equation has appeared to work out well at least twice in prog rock history. Like Emerson, Lake, and Palmer before them, Fireballet, an American band inspired by their talented cousins across the pond, gifted to the music world a progressive spin on one of the Russian master’s classic compositions. But there’s more here than Mussorgsky! So, without further ado, here’s my brief take on each of the songs:

“Les Cathedrales”, a ten-minute piece reminiscent of a medieval fairy tale (thanks in part to some spoken word lyrics), opens with a beautiful symphonic flourish of keys and synth (courtesy of Brian Hough and Frank Petto). There is a clear Genesis/Happy the Man vibe throughout the song, but also a fun twist: Ian McDonald (who also produced the album), makes a brief guest appearance on saxophone.

The next two pieces – “Centurion” and “The Fireballet” – feature more superb work by the two keyboardists and from guitarist Ryche Chlanda. Despite their shorter lengths, both songs manage to fit complex melodies and fun counterpoint into (relatively) smaller packages.

“Atmospheres” is the shortest and gentlest piece on the album, reminiscent of the soft opening to Genesis’s “The Musical Box.” It is a welcome break from some of the more frenetic moments of the previous three songs.

The title track nearly lives up to its grand namesake. Opening with the same melody as Mussorgsky’s masterpiece, the band then add some interesting percussive and synth touches for a more progressive spin on the original. Furthermore, this version of the classic piece includes vocals, and lead singer Jim Cuomo is at his best here, ranging from a soft Jon Anderson to a screaming David Byron or even Ian Gillan. Each musician shines on this one, however, and overall it is a solid tribute to one of “The Five.”

One would like to believe an album produced by Ian McDonald with an epic title track would certainly be destined for success. But, alas, it was not to be. Fireballet may not be as renowned as Modest Mussorgsky, but Night on Bald Mountain would certainly be a worthy addition to any prog lover’s collection.

Kate Bush: Class of 2023

The Rock and Roll Hall of Fame isn’t everything … but it’s about damn time! Congratulations to Kate Bush!

https://www.msn.com/en-us/music/news/rock-hall-inductee-kate-bush-can-t-wait-to-learn-the-secret-handshake/ar-AA1aGswo

Gordon Lightfoot (1938 – 2023)

RIP

Ray Shulman (1949 – 2023)

Requiescat in pace

https://www.yahoo.com/entertainment/ray-shulman-gentle-giant-co-014615148.html

The Best Prog Bands You’ve Never Heard Of (Part Thirty-Five): Hartmut Zinn

I am ashamed to say it has been a full year since I last posted in this series! But I have returned, this time with Hartmut Zinn, a German musician whose debut effort, Heile’s Land, will transport listeners back fifty years to Mike Oldfield’s legendary debut Tubular Bells. Like Oldfield, Zinn released his first album at a very young age (20), played every instrument himself (over a dozen, sans tubular bells), and opted for an entirely instrumental concept album. Although the highlight of the work is the two-part title track (which opens with beautifully layered keys, similar to the aforementioned T. B.), the shorter pieces showcase Zinn’s talents on various acoustic guitars, which he plays with skill and gusto.

This is no cheap imitation of Mike Oldfield, but rather an album that deserves greater attention, especially from aficionados of instrumental symphonic prog.

But enough from me. Enjoy: