Aaron Space - Aaron Space (1972)

Rate Your Music

Link

Connivence - II (1979)

Never really a full group of musicians per se, Connivence was more of a collective name for artistes, solo or groups from the same region: Hull, just across Ottawa opposite the river and into Quebec land. These artistes actually found easier to share recording costs and release in 77 on the same record their personal tracks, but also playing on each other’s works. From single artists Legault, Soucy to the groups Oasis (jazz-rock) and Nous Autres (sometimes close to Anthony Philips), this Connivence name housed dramatically different styles but most of them worthy of a listen to progheads. The “group” will produce three albums (until 84) with different line-ups and the second one will be heavily induced by Syncope (another prog group). The third one is more electrified or electronified and jazzed-up.

Sadly none of the three albums have been released under the Cd format and their vinyl records are not that easy to find, either.

Hugues Chantraine, BELGIUM


Rate Your Music

Link

Fiori-Séguin - Deux cents nuits à l'heure (1978)

Harmonium's Serge Fiori and Sequin's Richard Seguin were already aware of each others talents, several years before their sole album as a duo. The pair appeared side by side as backup singers for Gilles Valiquette's album "Valiquette est en ville" in 1976. Already, the two voices blended magnificently. It was during this same year that Seguin (the group) packed it in for good., and Richard participated as backup singer for Harmonium's "L'Heptade". Harmonium, in turn, sees things slow down to a full stop in 1977. Both Fiori and Seguin were looking for other outlets which could sustain their creativity, resulting in "Deux cents nuits à l'heure" in 1978. This album, marrying the pair's progressive and balladeer sides, sees the continuous participation of the majority of Harmonium's most recent line up. Read full story at ProgQuebec


Rate Your Music

Link

Alternative Link

Huckle - Wild Blue Yonder (1976)

Canadian Hippie Folk from 1976. Excellent music for the road, this rare and hard to find album is a perfect example of folk and rock made by a bunch of hippies in the seventies. The words are of love and tolerance, and free life and travelling, while the music suites the words well and transcends all of their messages flawlessly. Acoustic guitar and haunting fiddle, tablas and vocal harmonies of great and natural honesty of happiness from both the male and the female parts, it is one of the best albums I have heard in quite a while and it holds a strong place in my music collection. A must have classic! by bilbo1742


Rate Your Music

Link

La Bottine Souriante - Chic n' swell (1982)

As André Marchand put it, "this album takes the group out of the cabin and ushers them into the parlor." This album is under Celtic influences. High-quality production, a bit more polish on the arrangements, some reach to the vocals (a cappella for Ziguezon) and the addition of the flute, all put a professional edge on the group's second release.Taken from here

Rate Your Music

Link

La Bottine Souriante - Y'a ben du changement (1978)

This album gathers together a vast repertoire of traditional songs collected primarily from the Cantin family, with the instrumentals originating from the cultural heritage of Québec's Lanaudière region. Y'a ben du changement beautifully preserves the simplicity, vitality and spirit of the group's live performances and was an instant success. Today, its timeless repertoire (En l'an 2033, Sur la gran'côte and Trinque l'amourette) can still be heard in La Bottine's concerts. When this album came out, the band was comprised only of Gilles Cantin (guitar, feet, vocals), Mario Forest (harmonica, vocals), Yves Lambert (accordion, harmonica, vocals), Pierre Laporte (fiddle) and André Marchand (guitar, vocals). Taken from here

Rate Your Music

Link

Mashmakhan - Mashmakhan (1970) & The Family (1971)

Mashmakhan. Montreal rock band. It evolved from a succession of groups in the 1960s - eg, the Phantoms, the Dominoes, and Triangle, the last backing R&B singer Trevor Payne - that included the songwriter Pierre Sénécal (vocals, keyboards, flute), Rayburn Blake (guitar), and Jerry Mercer (drums). On leaving Payne, the trio made their debut in February 1969 at a Montreal club, the Laugh In, and soon after gave the first rock concert heard at the NAC. The bass guitarist Brian Edwards was added, and the name of an exotic hallucinogen adopted, prior to the release in 1970 of the band's first LP, Mashmakhan (Col ELS 365).The international success of the single 'As the Years Go By,' a pop song atypical of the band's venturesome, improvisational style, led to concerts in the USA and Japan, including a Tokyo appearance in 1971 before an audience of 40,000. A second album, Family (Epic E30813), was issued in 1971. Mashmakhan disbanded soon after. Efforts to revive the group during the mid-1970s involved, variously, Sénécal, Allan Nichols (vocals), Brian Greenaway (guitar), Steve Lang (bass), Lorne Nehring (drums), and others, and further singles were issued by Aquarius Records.

Rate Your Music

Part 1

Part 2

Maneige

MANEIGE is probably the Quebec band that epitomizes best the Quebec Prog boom from 74 to 79. Their music are probably one of the best example of what Fusion music can be by blending in classical and folk elements together with jazz tones the whole thing having a very progressive rock ideal and could also fit the chamber rock style. Their style can only be really compared to other Quebecois group as SLOCHE and OPUS-5. Taken from ProgArchives

Rate Your Music





















Maneige - Maneige (1974)




















Maneige - Les Porches De Notre Dame (1975)




















Maneige - Ni Vent... Ni Nouvelle (1977)




















Maneige - Libre Service (1978)

Harmonium - Si on avait besoin d'une cinquième saison (1975)

Basically, the masterpiece here is the 17-minute suite entitled "Histoire Sans Parole". The epic starts off with one of the most beautiful flute, mellotron, acoustic guitar themes ever recorded, followed by countless beautiful themes for the remaining 15-minutes. The other songs on the album don't really match the quality of the epic, but they are nothing to complain about. I really like "Dixie", a fun song drenched with early American-jazz influences. The one thing that most listeners will catch is that HARMONIUM didn't have a drummer, yet the lack of drums doesn't take away too much from the music due to the increased interaction between flutes, saxes, acoustic guitars, piano, and mellotron. I would say that HARMONIUM were inspired by early GENESIS, and the calmer moments from early KING CRIMSON. Overall, what a perfect album to start your French Canadian prog collection with! Steve Hegede Prog Archives


Rate Your Music

Link

Morse Code - Procréation (1976)

A year after releasing the classic album “La Marche Des Hommes”, Canada’s MORSE CODE released another masterful concept album titled “Procreation”. Following very closely their patented formula of progressive rock, this album will simply make all prog fans drool. Imagine a blend of HACKETT’esque guitar swoops with lots of beautiful mellotron/organ, creative bass and drum interplay and highly imaginative song writing and you have "Procreation". MORSE CODE is really a perfect marriage of classic ANGE with GENESIS ! Vocals are sung in French and really remind me of the theatrical presence of Christian Decamps (ANGE's vocalist). This album showcases the epic 26+ minute epic title piece which blends a highly British 70's prog character with their unique Québécois flavour. Overall another killer album that everyone needs to have in their collection... absolutely essential album! loserboy

Rate Your Music

Link

Le Match - Legendes (1974)

Quebec prog

Rate Your Music

Link

Opus-5 - Contre-courant (1976)

OPUS 5 were a 5 Piece ensemble from Quebec Canada who released IMHO one of Canada’s finest pieces of 70’s prog rock with “Contre-Courant” in 1976. Line up included Olivier Duplessis (claviers, vocals) , Luc Gauthier (guitars, vocals), Serge Nolet (flute vocals), Christian Leon Racine (bass, vocals) and Jean-Pierre Racicot (percussion, vocals). OPUS 5 were essentially a mix of lighter fusion / jazz prog with folk leanings at times and somewhat reminiscent of the Canterbury school of prog (i.e. HATFIELD & THE NORTH, EGG…). Instrumentally these guys blend tempo challenging aspects with acoustic and synthesizer runs offering the listener quite a fine variety of rhythm and tones. “Contre-Courant” is a very expressive album with all 5 members adding vocalization throughout and is delivered with great emotion. Sometimes albums just seem to have everything and fulfills your mind, ears and spirit and that is the case with this album for me. Absolutely 100% essential. By loserboy PROG ARCHIVES

Rate Your Music

Link

49th Parallel - S/T (1969)

Their first 2 singles "Laborer" and "She says" are pieces of pouting prairie punk. In 1969 they had a hit in Canada and the US with "Twilight woman", a lovely song that sounded poppier and slightly folkier than the UK band Tomorrow. The succes of the singles resulted in a release of their one and only album on MGM. This is easily one of the best canadian rock albums ever released featuring excellent material and including pulsating psychedelia, ultra strange tracks as well as a quintessential punk edginess. Strong melodies, great playing and a sympathic production make for a very desirable collection of songs.

Rate Your Music

Link

Garolou (aka Lougarou)

Garolou is a French Canadian folk-rock group created in 1975. It was originally called Lougarou, but had to change its name after being sued by a dance troup named Les Loups-garous. The group became popular fast, not only in Quebec but across Canada, with its rock sound and its lyrics taken from French and French Canadian traditional songs. More info at ProgQuebec

Rate Your Music



















Lougarou - Lougarou (1976) Thanks to nahavanda!

















Garolou - S/T (1978)




















Garolou - Romancero (1980)













Garolou - Centre-Ville (1982)

Kindly shared by Mr. Ilya Kozlov

Octobre - L'autoroute Des Reves (1977)

Octobre was at the forefront of the Quйbecois prog/rock scene of the seventies with bands like Harmonium and Morse Code.

Rate Your Music

Link

password: ezhevika.blogspot.com

Melodic Energy Commission - Stranger In Mistery (1979)

Prog psych from Canada. An interesting branch of the Hawkwind family tree is Melodic Energy Commission, which included among it membership Hawk electronics maestro Del Dettmar. The band's lineup consisted of Xaliman on vocals, guitar, piano, electro-keys, gongs, percussion, and shepherds pipes, Randy Raine-Reusch on dulcimer, khaen, gongs, and flutes, Del on EMS synth and Delatronics, George McDonald on guitar, theramin, and wall of oscillation, Mark Franklin on bass, and Paul Franklin percussion, tablas, glockenspiel, and synth organ, plus numerous guests. The Stranger In Mystery tracks are interesting as they feature tribal, acoustic, flower power, hippie psychedelia combined with loads of spacerock electronics. The music is raw, but heavily exploratory, often changing radically within a single track. For example, the nine minute title track features acid guitar and synths jamming in their own individual directions in a kind of heavy Hawkwind, floating Tangerine Dream style. The feel is very playful, though it gets a bit meandering at times. Xaliman's slightly efx'd vocals are a bit eerie and fit the music well. Too much is going on for a track by track discussion. But suffice it to say they go from psychedelic chamber orchestra, to dissonant strumming acoustic guitars, and more freaky electronics than you can shake a Hawk at. Taken from Aural Innovations

Full info & buy albums here


Rate Your Music

Link

password: ezhevika.blogspot.com

Louise Forestier - S/T (1969)

Quebec Chanson

Rate Your Music

Link

password: ezhevika.blogspot.com

Contraction - La Bourse Ou La Vie (1974)

Quebec progressive. More info here

Rate Your Music

Link

Contraction - S/T (1972)

One of the first and best Quebecois(French-Canadian) prog/folk/jazz album. More info here

Rate Your Music

Link

Quincy Conserve - Epitaph (1971)

The Quincy Conserve was formed in Wellington in late 1967 by Malcolm Hayman. Malcolm was an extremely talented musician who had already been on the music scene for twelve years by that stage. Hayman was only 15 years old when he arrived in Wellington in 1955 as a member of the Maori Hi Fives showband. The following year the singer-guitarist formed the Trademarks, long-time residents at the Mexicali, a popular nightspot owned by American expatriate Harry Booth. The Trademarks were very popular, and after four years of constant playing, queues formed to see them every time they played. Over the years, 30-odd musicians passed through the ranks of the Trademarks, before Malcolm disbanded the group in 1961. The Trademarks owed more than a little to the Maori showband tradition, where Hayman had learnt his licks, but the group gave Wellingtonians their first taste of rock'n'roll. One member of the Trademarks was Rodney "Dody" Potter, who was later a member of the Keil Isles and Dallas Four.
Following the demise of the Trademarks, Malcolm spent 18 months at the New South Wales Conservatorium of Music, followed by two years on the Australian-Pacific cabaret circuit with a variety of bands. Malcolm was a severe diabetic and in 1965, during a residency in New Caledonia, he came down with tuberculosis, spending the next 14 months in a Noumea hospital. He returned to Wellington in the middle of 1966 and formed a new band called the Soundells.
The Soundells had a residency at the Downtown Club in Wellington and at the end of 1967 they were enticed to go to Auckland to play there. They accepted the offer, but Malcolm decided not to go. Now without a resident band at the Downtown Club, owner Roy Young had enough faith in Malcolm to give him a budget to recruit, equip and rehearse a new band for his club. Malcolm immediately tried the rhythm section of Sounds Unlimited, who had just dissolved, but at rehearsals found that they were not appropriate. He then started scouring the countryside, looking for the best musicians, with a promise of a regular gig and a steady wage.
Malcolm recruited bass player Dave Orams from the Underdogs, keyboardist Rufus Rehu from the Quin Tikis, another previous member of Sounds Unlimited, saxophonist Johnny McCormick, and an inexperienced saxophonist, Dennis Mason. On drums was Bryan Beauchamp, from Bari and the Breakaways, but he was quickly replaced by another former Quin Tikis, Earl Anderson.
Rehearsals over, the Quincy Conserve debuted at the Downtown Club in February 1968. They were one of the most talented and professional groups to appear on the New Zealand music scene in the late sixties. They were Wellington's first 'supergroup'. Ria Kerekere returned from the Soundells to provide some vocals for a little while, and not long after they got going, Earl Anderson came down with hepatitis and was replaced by Raice McLeod.
Malcolm Hayman 1969.
Word spread fast about this group and Roy Young soon recouped his investment. Patrons got their money's worth from the entertainment and the club even featured floorshows from the top soloists in the country. It was a top-class venue , which kept out riff-raff by strictly adhering to stringent dress regulations and an over 18 age restriction. Producer Howard Gable visited the venue and was impressed enough to sign the group to EMI, not only as artists but also as a studio band, to record backing's for the large roster of talent recording for the company, including Allison Durbin.
Releasing on the HMV label, their first single "I'm So Proud"/"I've Been Loving You Baby" came out in June 1968. This was followed in 1969 with "Hallelujah"/"Here's To The Next Time" and "Lovin' Look"/"Soul Thing". These records got very good revues, but that wasn't reflected in the sales. Unless you were from Wellington, no-one really knew anything about the group. This was rectified slightly when in December 1968, the group backed Allison Durbin on a national tour. This was the first time they had played outside their Downtown Club residency.
Kevin Furay, who had previously played with Top Shelf, joined the group on both guitar and trumpet in 1970. Two months after Kevin joined, Raice McLeod left and he was replaced by Bruno Lawrence. Raice actually took the seat Bruno had occupied in Sydney with Electric Heap.
Bruno had an immediate impact on the group. He wrote a song that was included on the group's first album, and the song became their biggest hit. The album released in 1970 was "Listen To The Band" and the single was "Ride The Rain"/"I Feel Good". The single was also released in Australia. Bruno's "Ride The Rain" became a finalist in the 1970 Loxene Golden Disc Awards. The second single from the album was "Everybody Has Their Way"/"Purple Frustration".
A second album "Epitaph" was released in 1971. It contained a number of excellent songs and from it came three singles, "Aire Of Good Feeling"/"Don't Arrange Me", "Alright In The City"/"Somebody Stole My Thunder" and "Going Back To The Garden"/"My Michelle Chan".
The Quincy Conserve was always Malcolm Hayman's band and he was a perfectionist and a strong disciplinarian. His rigid control of the group always went down well with venue owners, but didn't always sit too well with band members. It caused the unit to be unhappy at times and the band members resentment eventually tore the group apart. Bruno was always a hard person to manage and he treated Malcolm with casual disdain. Even though Bruno was good value to the group, his irreverence caused him to be fired by Malcolm. In February 1971, a new drummer Richard Burgess was acquired. Bruno was undeterred and moved on to form Blerta.
Not long after Richard joined, Kevin Furay left to form Tanglefoot, and he was replaced by a new trumpet player Barry Brown-Sharpe.
Pressure within the group exploded towards the end of 1971 when Malcolm fired Dave Orams during a rehearsal session. Dennis Mason took exception to this and an argument took place, basically with everybody being sick of being in a band where they had absolutely no say. Dennis said if Dave goes, so do I, and Barry Brown-Sharpe and Johnny McCormick both agreed. The result of the argument was the group was four members less. Hayman decided that there was no point continuing with the group, so he officially disbanded it. Putting their grievances aside, they did get together to do a farewell performance at the Downtown Club on October 30, 1971. Dennis Mason went on to become a member of Arkastra.
Malcolm then joined Furay at Tanglefoot, but before the end of 1971, Roy Young was concerned at the drop of patronage at the Downtown Club, and started putting pressure on Malcolm to form a new band.
Malcolm swallowed his pride and put together a new Quincy Conserve, promising that it would be a more democratic outfit. From the first version remained Malcolm and Rufus Rehu. Malcolm convinced Johnny McCormick and Dave Orams to return and they added Mike Conway on drums and two temporary members, Australian Peter Cross on trumpet and Harry Leki on guitar.
1972 L to R: Mike Conway, Dave Orams, Kevin Furay, Johnny McCormick,Barry Brown-Sharpe, Malcolm Hayman and Rufus Rehu.
At the beginning of 1972 they were back at the Downtown Club, just as popular as before and as if they had never left. After just a month, Peter Cross and Harry Leki had gone and back from the original version were Barry Brown-Sharpe and Kevin Furay. Dave Orams also went and was replaced by Frits Stigter on bass guitar. Now with the band members having more say, they musical direction moved towards a more jazz-rock style.
Two new singles were released in 1972, "Somebody Somewhere Help Me"/"Tango Boo Gonk" and "Roundhouse"/"You Can Take Your Love".
In November 1972, EMI promoted a concert at the James Hay Theatre in Christchurch. Quincy Conserve performed there along with Blerta, Lutha and Desna Sisarich. The event was recorded and released early in 1973 as an album called "Live". They contributed three tracks to the album.
By the end of 1972, Quincy Conserve were no longer resident at the Downtown Club. In 1973 the breweries had begun to recognise the value of live music in their taverns. Lion Breweries opened a rock venue in the Spectrum Room at the Lion Tavern. Their second venue was at the Cornhill Tavern and Quincy Conserve were installed as residents. They also held a residency at the Speakeasy Bar in Manners Street.
In 1973 their third album was released. It was called "Tasteful" and came with a 7" EP called "Extra Tasteful". Two singles were released from the album, "Keep On Pushing"/"Lady Listen" and "Slut"/"Keep On Playing That Rock'n'Roll".
A deal with Lion Breweries was signed in 1974, and the group spent most of the next year constantly touring the country. They spent on average a week in each town and during that time musicians came and went. By 1975 the group found that their most appreciative audiences were found at jazz festivals. By this stage the line-up consisted of Hayman, Paul Clayton on lead guitar, Peter Blake on keyboards, Rodger Fox on trombone, Geoff Culverwell on trumpet, Murray Loveridge on bass and Billy Brown on drums. Geoff Culverwell had previously been with the Wedge. This combination recorded the group's last album called "The Quincy Conserve" in 1975 for the Ode label and also released two singles, "Song For The Man"/"Epistolary" and "Rockin' Chair"/"Super Strut".
In September 1975, Jack Cooper, manager of Wellington's newly opened 1860 Tavern, invited Rodger Fox to form a jazz band for Saturday afternoon entertainment. He created the 1860 Band, and it comprised Fox, Blake, Brown and Culverwell from Quincy Conserve, plus bassist Dave Pearson. By the end of 1975, the 1860 Band had greater pulling power than Quincy Conserve themselves, so it became a full-time venture in the new year, officially putting an end to Quincy Conserve for good. Hayman and Loveridge went on to form a pub band called Captain Custard.
Rodger Fox went on to form the Rodger Fox Big Band in the late seventies. They recorded a number of albums and included quite a few respected musicians within their ranks over the years. They included Geoff Culverwell from Quincy Conserve and David Feehan from Lost Souls and Tapestry.
Malcolm continued playing for a number of years, but finally his diabetes caught up with him and he died as a result of complications on the 5th November 1988.
Quincy Conserve were never a true pop group, they were more of a musicians band, with Malcolm Hayman possessing one of the most distinctive voices in Kiwi Rock.
In 2001 EMI released a CD called "The Very Best Of Quincy Conserve", which contained most of their singles and some good album tracks.

More info here

Rate Your Music

Link