RICHARD FALK's REVIEWS

Ban-Baz

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Banda Del Gnomo (Chile): El Canto Del Angel (Mylodon MyloCD063, CD, 2009, recorded 1980-1990)
Rock/Metal/Progressive
Catalina Telias (joint lead vocals)
This collection of unreleased archive recordings demonstrates Banda Del Gnomo to have been a typical eighties South American heavy prog band, with a hard rocking, song-based style and assertive female vocalist recalling outfits like Sol Y Media Noche. Some Jethro Tull-like flute work adds pleasant counterpoint but the eighties drum sound is irritating, the production style is mostly unsympathetic and the sound quality is sometimes dreadful (the opening title track, clearly a rough demo, has all the vocals and instruments crammed into one channel). Had this been properly recorded in any decade other than the eighties, it could have been a half-decent album. GRADE: C–.

Banda Do Casaco (Portugal): Dos Beneficiós Dum Vendido No Reino Dos Bonifácios (Philips 6330 013, 1974)
Folk/Rock/Progressive
Helena Afonso (joint lead vocals), Judi Brennan (joint lead vocals)
Not only is this one of the rarest albums from Portugal, but it’s also one of the most interesting European folk/rock LPs. That description doesn’t really do justice to the highly varied, experimental music here, though, which bears no resemblance to Fairport Convention, Steeleye Span et al. The opening ‘Aliciação – Espírito Mundo’, for instance, blends ethnic percussion and pipes with some baroque classical string work and a slightly eerie semi-spoken voiceover before becoming a richly-textured multi-vocal ballad with piano backing. Successive tracks also combine folk, ethnic, chamber music, jazz and avant-garde elements in intriguing combinations, with ‘Cocktail Do Braco De Prata’ slightly recalling It’s A Beautiful Day with some lyrical violin work. Altogether, this is a fascinating and very adventurous debut. GRADE: A–.
Banda Do Casaco (Portugal): Coisas Do Arco Da Velha (Philips 6330 019, 1977)
Folk/Rock/Progressive
Helena Afonso (occasional vocals), Mena Amaro (violin)
As eccentric and experimental as its predecessor, this features at various times African chanting, traditional Portuguese melodies, church organ, unaccompanied harmonies, psychedelic electronically-treated violins and even an epic orchestrated ballad sung by a small child. Overall, this is perhaps a shade less consistent than their first (or is it simply less startling when one listens to their albums in sequence?), but it’s still an outstanding release by any standard. GRADE: B+.
Banda Do Casaco (Portugal): Hoje Há Conquilhas Amanhã Não Sabemos (Imavox IM-30033, 1977)
Folk/Rock/Progressive
Mena Amaro (joint lead vocals, bells, violin)
Their third is another varied, exciting, creative album of ethnic-tinged progressive folk. The one thing it lacks is the element of surprise, as by now they had established a clear style and approach. GRADE: B.
Banda Do Casaco (Portugal): Contos De Barbearia (EMI E 072-040 474, 1978)
Folk/Rock
Mena Amaro (joint lead vocals)
Album number four sees a rapid softening of their style – dropping most of the ethnic elements and nearly all the avant-garde and progressive touches, this is fairly conventional folk/rock. It’s still good, with some fine material and sensitive, gentle performances, but the distinctiveness and sense of adventure that characterised their early work is notably absent. GRADE: B–.

Banda Do Casaco (Portugal): No Jardim Da Celeste (EMI 11C 074 40541, with inner, 1980)
Folk/Rock
Né Ladeiras (joint lead vocals), Emília Ferreira (occasional vocals)
They always had an unstable and shifting line-up; this time round, the big surprise is the addition of prolific American drummer Rick Marotta, whose heavy style completely changes their sound. On ‘Liliana Nibelunga’ they blend influences from hard rock and new wave, whilst ‘É Ouvi-Los’ has a definite funk tinge; a few elements of their original style remain, but overall this is an odd mix of folk/rock, jazzy fretless bass and pounding stadium-rock drums. It’s by no means bad, but it’s also by no means interesting, which is a great pity in light of their track record. GRADE: C.
Banda Do Casaco (Portugal): Também Eu (Valentim de Carvalho 3 VCLP 10009, with insert, 1982)
Progressive
Né Ladeiras (lead vocals)
Marotta’s drums are still a defining feature of their sound (and an unwelcome one, immediately dating this to the eighties) but this is musically quite different to No Jardim Da Celeste. Mostly instrumental or with wordless vocals, the album takes them closer to soft progressive rock than to folk and is overall quite good, although not a patch on any of their first three. GRADE: C+.
Banda Do Casaco (Portugal): Com Ti Chitas (Schiu SLP 001, with poster sleeve and inner, 1984)
Pop/Folk/Rock
Catarina Chitas (joint lead vocals), Maria da Conceição Batarda da Silva Granate (joint lead vocals)
The opening ‘Consilação’ makes clear that Marotta has gone – unfortunately he’s been replaced by a drum machine, and the track attempts to reinterpret a traditional folk song in a jazz/funk-meets-electropop style. It’s certainly original, and I’ve never heard anything else like it, but then I hope I never do again. The rest of the album isn’t as bad, but as a whole this is even more dated and quintessentially eighties than No Jardim Da Celeste. Altogether, it’s an odd end to their career. GRADE: D+.
See also Né Ladeiras

Bando (Brazil): O Bando (Polydor LPNG 44.043, 1969)
Psychedelic
Marisa Fossa
Although not as exploratory or exciting, this is very similar to Mutantes and on its best track offers some outstanding tropicália. In particular, the fuzz-driven opener ‘…E Assim Falava Mefistófeles’ is very impressive, but there are few really weak tracks. GRADE: B–.

Banish Misfortune (USA): Freest Fancy (Shoestring, 1980)
Folk
Lauren Pelon (joint lead vocals, guitar, concertina, bagpipes, recorder, crumhorn, gemshorn, whistle)
Beautiful, elegant and intricately arranged for diverse acoustic instruments, this British-style traditional folk album is a clear winner. The only thing I could ask for is occasional electricity, which would have added the jolt of energy to take it to the next level. GRADE: C+.

Banish Misfortune (USA): A Health To The Company (Shoestring, 1981)
Folk
Lauren Pelon (principal vocals, guitar, concertina, lute, bagpipes, crumhorn, gemshorn, recorder, whistle)
Whilst this follows the same format as their debut, it’s a step up in every regard, frequently recalling the first Gallery album in its fragility and beauty. In fact, this is as about as good as traditional folk ever gets – and it’s amazing that an obscure American band could produce anything that sounds so authentically British. GRADE: B–.

Banish Misfortune (USA): Through The Hourglass (Kicking Mule KM 319, with insert, 1985)
Folk/Progressive
Lauren Pelon (principal vocals, guitar, lute, bagpipes, crumhorn, gemshorn, psaltery, doucaine, recorder)
Expanding to a four-piece with the addition of a vocalist and keyboardist/flautist, Banish Misfortune sign off with an album that’s considerably more ambitious and progressive. With mostly original material and stronger emphasis on the early music influences underpinning their sound, this offers rich, lush, dainty and mildly jazzy music that’s carefully composed and sumptuously arranged, resulting in one of the better folk LPs of the 1980s. GRADE: B–.

Louis Banks’ Sangam (India): Citylife (CBS IND 1006, 1983)
Jazz/Rock/Progressive/World Music
RA Rama Mana (lead vocals, tamboura)
This highly creative prog album blends elements of jazz and traditional Indian music with some modern synthesised elements to create an unusual blend of styles. If it’s occasionally ponderous (notably the long percussion break on the opening title track), it’s more frequently startling, with some impressive musicianship and notable references to the seventies greats (the same opening cut sometimes recalls Cos and even Magma). GRADE: B–.
See also Oriental Wind & The Karnataka College Of Percussion, Percussion Summit

Baraka (USA): Love Is As Open As Your Heart (Baraka BK1-0001, with insert, 1976)
Folk/Rock
Marjorie Lynn (joint lead vocals), Vickie Marriott (joint lead vocals), Penelope Townsend (joint lead vocals), Janis Lowery (joint lead vocals), Su-Zan (banjo, flute)
Gentle hippie folk from a religious commune, all as naïve and gently uplifting as song titles like ‘So Beautiful Inside’, ‘As A Man Thinketh’, ‘Allelujah’ and ‘Mystical Traveler’ imply. Much of this is pleasant but inconsequential, but four tracks really stand out: ‘Déjà Vu’ adds jazz/funk and progressive influences, ‘Night Flight’ and ‘Sower Of Seeds’ have excellent electric guitar work giving a psychedelic flavour, and the title track simply has a truly gorgeous melody and beautiful female harmonies. Were the whole LP of the same standard, this very rare record would be one of the most sought-after seventies private pressings. GRADE: C+.

Tülay Nedret Baran (Turkey): Tülay Nedret Baran (Türküola 455, cassette, West Germany, 1976)

Pop/World Music

If you love the first couple of Selda albums, you’re bound to like Tülay Nedret Baran. I choose those words advisedly, as whilst this has the same upbeat sound (and very similar arrangements) to some of Selda’s early work, the psychedelic edges and fierce eclecticism are entirely absent, making this a pleasant diversion rather than a work of profound artistry. GRADE: C+.

Tülay Nedret Baran (Turkey): Zühtü (Türküola, cassette, West Germany, 1976)

Pop/World Music

The version of ‘Mehmet Emmi’ here underscores Nedret Baran’s differences with Selda more graphically than anything on her debut: whilst it’s well done, it's the unexpected acid-rock edges and funky breaks that made Selda’s version a classic. This interpretation is merely likeable, which extends to the album as a whole. GRADE: C+.

Barbara & Ernie (USA): Prelude To… (Cotillion SD 9044, 1971)
Jazz/Soul/Funk
Barbara Massey (joint lead vocals, piano, autoharp)
Orchestrations by Eumir Deodato and a stellar backing band including Keith Jarrett, Richard Tee, Joe Beck and Bill Salter are only part of the reason this is such a fine album. Barbara Massey and Ernie Calabria are the real stars of the show: she has a beautiful, plaintive voice and they are capable writers, blending elements of jazz, soul, funk and hippie mysticism into eight excellent original songs. I also love their radical cover of Jefferson Airplane’s ‘Somebody To Love’, which transforms the assertive rock of the original into a sinuous, snaky piece of music that slowly unfolds its languid charms. GRADE: B–.

Annie Barbazza (Italy): Annie’s Playlist (Unifaun Productions Ephimerals UPE 001, CDR, with gatefold minisleeve and poster, 2015)
Annie Barbazza (lead vocals, guitar, piano)
If you’ve ever wanted to hear acoustic singer/songwriter-style performances of ‘House With Your Door’, ‘Epitaph’, ‘Astronomy Domine’, ‘Locomotive Breath’ and other progressive rock stalwarts, here’s your chance. On her live debut, Barbazza also throws in some more mainstream classics, including ‘Across The Universe’, ‘Pink Moon’, ‘Space Oddity’ and ‘A Case Of You’, again with the same stripped-down arrangements. Whilst she has a pleasant voice and is a competent enough guitarist and pianist, this is a rather odd release – ‘Casablanca Moon’ works well enough in this setting, with an inherent cabaret vibe in the original, but for the most part I can’t imagine who would crave to hear these songs in this style. GRADE: C+.

Annie Barbazza (Italy): Annie’s Playlist 2 (Unifaun Productions Ephimerals UPE 003, CDR, with digipak, 2017)
Folk/Rock
Annie Barbazza (lead vocals, guitar, ukelele)
The sleeve notes state the ‘the Annie’s Playlist concept was Greg Lake’s idea to improve both my skills as a musician and singer by covering the tunes that I loved’. Barbazza has certainly improved, as this is far superior to the first instalment, largely due to greater input from collaborator Lorenzo Trecordi, whose accompaniments flesh out her sound. In particular, his heavy, distorted electric guitar hugely lifts ‘Reanimator’ and ‘Cortez The Killer’, though most of this is pretty satisfying, with just two or three weak cuts. GRADE: C+.

Annie Barbazza & Max Repetti (Italy): Moonchild (Manticore Italy MAN 002, CD, with gatefold minisleeve and booklet, 2018)
Singer/Songwriter/Progressive
Annie Barbazza (lead vocals)
According to the sleeve notes, this album was originally intended to offer voice-and-piano reworkings of Greg Lake’s songs, with Lake singing and Max Repetti playing piano. However, when Lake realised he was terminally ill he proposed Annie Barbazza as vocalist and extensively coached her in the performances. As with Barbazza’s earlier albums, it’s certainly startling to hear progressive rock tunes performed in this way, but the strength of her singing and the quality of Repetti’s piano means that this is a more compelling listening experience than one might expect. GRADE: C+.

Anton Barbeau With Su Jordan (USA): The Automatic Door (Shifty Disco SHIFTY0704, CD, 2007)
Pop/Psychedelic
Su Jordan (backing vocals)
There’s some excellent psychedelic pop on offer here, sometimes reminiscent – in terms of both style and quality – of the Petals.

GRADE: C+.

Donatella Bardi (Italy): A Puddara É Un Vulcano (Elektra T 52028, 1975)
Folk/Rock
Housed in a triple foldout sleeve, Bardi’s sole album offers various styles of folk and folk/rock. The standard is inevitably a touch uneven, but overall this is an enjoyable and accomplished LP, peaking on the heavier electric folk of ‘No (Donatella)’, complete with a powerful guitar solo. GRADE: B–.

Bards (UK): Time For The Bards (Folk Heritage FHR019M, 1971)
Folk
Sheelagh Holt (joint lead vocals)
Nothing to do with the Irish band of the same name, these Bards issued one of the rarest albums on Folk Heritage. Typically for the label, it comprises rather dark, mournful traditional folk with simple acoustic guitar backing and a touch of Northern humour on the closing ‘Chicken Song’. GRADE: C+.

Bards (Ireland): Ireland’s Bards (Polydor 2908 024, 1975)
Folk
Ann Keaveny (joint lead vocals, bass synthesiser, keyboards)
Recorded live, this Irish folk outfit’s sole album features backing from acoustic guitar, mandolin and bouzouki, but also from synthesiser (covering both the bass and keyboard parts), adding a slight cabaret vibe. Overall this is nice enough, with a surprisingly lush sound, but it’s easy to see why this hasn’t been fetishised by collectors like releases from labelmates Loudest Whisper and Mac Murrough. GRADE: C+.

Alison & Jill Barff (UK): Alison And Jill (Profile GMOR 103, 1973)
Folk
Jill Barff (joint lead vocals, guitar), Alison Barff (joint lead vocals, autoharp)
Many of the rarer releases on Profile sell for big money, but not this one. Obviously there aren’t too many collectors keen to hear a vicar’s twin daughters performing an array of Christian folk songs with formal soprano vocals. GRADE: E.

Barley Cove Folk (Ireland): Fenians, Boats And Ballads (Golden Guinea GSGL 10457, UK, 1970)
Folk
Connie Draper (joint lead vocals, banjo, melodica)
If the title makes you expect angry rebel songs, think again: this is upbeat, slightly MOR stuff typical of the kind of folk music featured on TV in the seventies. That’s not to say it’s without merit – their version of ‘Siobhan Ní Dhuibír’ is quite lovely, with string synthesiser adding an unusual, progressive edge – but at its worst this is the sort of thing that gives folk a bad name. GRADE: C–.

Barnabas (USA): Hear The Light (Tunesmith TS 6004, with insert, Canada, 1979)
Rock/Metal
Nancy Jo Mann (lead vocals)
This Christian hard rock album has a pretty basic sound, with several tracks displaying strong barroom, boogie and (less predictably) fifties rockabilly influences. There’s even a lengthy blues workout, which is usually a sign of a band struggling to fill an LP. On the plus side, Nancy Jo Mann has a fine voice, clearly modelled on Grace Slick, and there is some strong guitar work, but this never fully overcomes the mediocre material. GRADE: C.
Barnabas (USA): Find Your Heart A Home (Tunesmith TS 6009, with insert, Canada, 1981)
Rock/Metal
Nancy Jo Mann (lead vocals)
Losing their guitarist and main composer and expanding to a five-piece, Barnabas returned with a much more satisfying second album. The use of dual guitars and keyboards allows for much more intricate arrangements, emphasising their supple musicianship, and the material is much more progressive and also much heavier in parts. Even the ominously titled ‘Boogie Tyme!’ defies expectations by being a rather good funk/disco parody. GRADE: C+.
Barnabas (USA): Approaching Light Speed (Light LS 5829, with inner, 1983)
Rock/Metal
Nancy Jo Mann (principal vocals)
Album number three mostly offers solid early eighties metal, with a few diversions into pomp-rock and borderline prog (notably on ‘Waiting For The Aliens’ and the lengthy intro to ‘Subterfuge’). There’s nothing particularly distinctive or original on offer here, but it’s a competent enough LP. GRADE: C+.
Barnabas (USA): Feel The Fire (Light LS 5860, with inner, 1984)
Rock/Metal/Progressive
Nancy Jo Mann (lead vocals)
With more emphasis on keyboards, this ups the prog quotient considerably, as song titles like ‘Prelude’ and ‘Suite For The Souls Of Our Enemies, Part One: Hammer And Sickle’ indicate. Indeed, on the seven-minute ‘Hearts’ Nancy Jo Mann sounds uncannily like Tracy Hitchings, whilst the musical backing resembles Hitchings’s band Landmarq. Elsewhere, there is more of the band’s familiar eighties metal, with the high energy title cut being perhaps their best rocker. GRADE: C+.
Barnabas (USA): Little Foxes (Light SPCN 7-115-70896-7, 1986)
Metal
Nancy Jo Mann (lead vocals)
The band’s fifth and final album is also their heaviest, offering a procession of basic but brutally effective hard rock cuts. This isn’t enormously sophisticated or subtle music, but the lyrics cover some interesting topics and the music quickly refutes any claim that Christians can’t rock. GRADE: C+.

Barr (Sweden): Skogsbo Is The Place (No label, CDR, 2007)
Folk/Psychedelic
Hanna Fritzson (joint lead vocals, piano, glockenspiel, flute)
This obscure Swedish band offered an excellent album of hippie folk, featuring delicate long tracks filled with lively acoustic instrumentation and underpinned by hand percussion. If this lacks the truly stunning melodies to place it among the top echelon of psychedelic folk, it has an easy consistency and a lovely organic groove that justifies its place in any collection. GRADE: B–.

Barrett Elmore (Sweden): Woodlands (Trail TR-012, CD, with digipak, USA, 2012)
Psychedelic/Progressive
Mikaela Eriksson (joint lead vocals)
The ‘Barrett’ in the band name means Syd, so no prizes for guessing that this is pastoral psychedelia, in this case crossed with progressive rock to create an evolving tapestry of trippy sounds. It’s lovely stuff, and certainly one of the better neo-psychedelic (or indeed progressive) albums I have encountered recently. GRADE: B–.

Barrock (Italy): Barrock (Down Town Pordenone 001, cassette, 1989?)
Progressive
Paola Polese (joint lead vocals), Graziella Vendramin (joint lead vocals), Laura Ivan (joint lead vocals)
This Italian sympho-prog band’s debut album is quite professionally produced, with both printed labels and a printed inlay card. It features eight fairly short pieces dominated by synthesisers and alternating instrumental sections with pieces featuring mostly female vocals. It’s catchy, fairly lightweight stuff, but enjoyable at the same time, and at one point slightly reminds me of Abba. GRADE: C+.
Barrock (Italy): L’Alchimista (No label, cassette, 1990?)
Progressive
Demo tape number two (at least, I assume this follows the self-titled tape) is a more home-made affair, with no labels and a photocopied inlay card. Whereas their first emphasised the commercial and pop aspects of their sound, this is rather superior, with four rich, folky pieces recorded in the studio in the first side and two energetic live cuts on the flip. GRADE: C+.
Barrock (Italy): L’Alchimista (Moon Witch ERC-29236, CD, Japan, 1991)
Progressive
Paola Polese (joint lead vocals), Graziella Vendramin (joint lead vocals)
Not a reissue of the cassette of the same name, this combines reworkings of earlier material with a couple of new pieces. Mostly instrumental, the album features some excellent baroque arrangements (as the band name implies) but once again suffers a bit from a thin, synthesised sound. However, there are also two long, complex vocal pieces which are very impressive, making one wish the band had concentrated on songs and suites rather than instrumentals. Released only in Japan, allegedly in a run of 500 copies, this is now very rare and difficult to obtain. GRADE: C+.
Barrock (Italy): Oxian (SI SIMPly 58, Holland, 1994)
Progressive
Paola Polese (joint lead vocals), Graziella Vendramin (joint lead vocals)
Their fourth album has the same strengths (rich neoclassical textures, well-handled tempo changes), weaknesses (lots of dated synthesisers, a rather thin sound) and format (mainly instrumentals with some vocal pieces thrown in) as their first. On the plus side, it’s a good deal more consistent, but on the other hand it never comes close to equalling its predecessor’s best moments. GRADE: C+.
Barrock (Italy): La Strega (Mellow MMP 371, 1999)
Progressive
Paola Polese (lead vocals)
Even more instrumental than earlier work (only two out of nine cuts have vocals and both are wordless), this is their best album, with a much richer and more satisfying sound. In particular, the eleven-minute ‘La Mutazione’ is quite superb, and unlike their first four this rarely drags or sounds formulaic. GRADE: B–.

Barrow Poets (UK/Isle of Man): An Entertainment Of Poetry And Music (Argo PLP 1072, UK, 1963)
Spoken Word
Heather Black (joint lead vocals), Alison Milne (joint lead vocals), Christine Shotton (joint lead vocals), Susan Baker (violin), Lorna Gregson (oboe)
Led by eccentric Manxman William Bealby-Wright, this outfit made several interesting albums combining poetry with music. This one, however, is nearly all poetry, with only occasional interjections from Susan Baker on violin and Lorna Gregson on oboe, so its appeal is likely to be fairly selective. The album is also known as Barrow Collection, after the large title on the front sleeve. GRADE: D.

Barrow Poets (UK/Isle of Man): Folk Rhymes Tunes And Verses (Fontana 886 487 TY, UK, 1968)
Spoken Word/Folk
Cicely Smith (joint lead vocals), Heather Black (joint lead vocals), Susan Baker (mandolin, violin, viola)
There’s a bit more music here, covering both folky and mock-classical styles, but for the most part this is once again a spoken-word LP. It’s extremely well recorded and performed, with the musical interludes lifting it considerably, but once again this is more a purchase for fans of performance poetry than folk music. GRADE: C.
Barrow Poets (UK/Isle of Man): Joker (RCA SF 8110, UK, 1970)
Spoken Word/Folk/Avant-Garde
Heather Black (joint lead vocals, harmonium), Cicely Smith (joint lead vocals, percussion), Susan Baker (violin, mandolin, harp)
Having really hit their stride, the band combine poetry (some humorous, some serious, all quite weird) with music (mostly chamber-derived, and all weird) to great effect. The instrumental tracks are quite impressive too, with ‘Bad Trip’ (entendre almost certainly double) aiming to recreate the sensation of car-sickness through weird interplay between harmonium and violin. GRADE: C+.
Barrow Poets (UK/Isle of Man): Outpatients (Argo ZSW 508, UK, 1972)
Spoken Word/Folk/Rock/Jazz
Heather Black (joint lead vocals), Cicely Smith (joint lead vocals), Susan Baker (violin, viola, mandolin, harp)
This time the band wrote all the poetry themselves, and the musical backing was augmented by Gary Boyle on guitar, Jeff Clyne on bass and Trevor Tomkins on drums and percussion. Consequently it’s much jazzier than Joker, but (whilst still interesting) not quite as good. GRADE: C+.
Barrow Poets (UK/Isle of Man): Magic Egg (Argo ZSW 511, UK, 1972)
Spoken Word/Folk/Psychedelic
Heather Black (joint lead vocals), Cicely Smith (joint lead vocals), Susan Baker (violin, viola, mandolin, harp)
Recorded at the same time as Outpatients and with the same guest musicians, this is the yin to its yang – specifically aimed at children rather than adults. It’s actually the more enjoyable album of the two, with a surreal atmosphere to both the monologues and musical passages that should appeal to any self-respecting popsike collector. One track, ‘Ridey Didey’s House’, appears on both LPs. GRADE: C+.

Barrow Poets (UK/Isle of Man): Islands Of The Moon (ASW 6001, UK, 1981)
Spoken Word/Folk
Cicely Smith (joint lead vocals), Heather Black (joint lead vocals), Susan Baker (mandolin, violin, viola)
The band’s belated final album is subtitled ‘Songs And Poems For Children’, but it has none of Magic Egg’s tripped-out edges. Instead, we’re mostly in Flanders & Swann territory here, with rather arch songs, nice folky instrumentals and a mixture of poetry and dialogue. The results are highly eclectic, occasionally irritating and mostly quirky and likeable. GRADE: C+.
See also Susan Baker, Doggerel Bank

Bára Basiková & Precedens (Czechoslovakia): Doba Ledová (Panton 81 0729-1, 1987)
Rock/Progressive
Bára Basiková (lead vocals)
Basiková’s other project, contemporaneous with the more celebrated Stromboli, is somewhat different, offering synthesiser-led neoprogressive with pop and new wave edges. In some ways the sound isn’t dissimilar from certain tracks on Stromboli’s second album Shutdown, although Doba Ledová is nowhere near as dark and gothic. Overall this isn’t a bad album, but it is certainly a very dated one. GRADE: C+.
See also Stromboli

Baskarma (Tatarstan): Kizleu (Gold Disc GDL 2091, with insert, Finland, 1991)
Folk/Rock
Dina Asis (joint lead vocals), Betül Hairedin (joint lead vocals)
Although not really exceptional in any way, this is a lovely gentle folk and folk/rock album with excellent dual female vocals and strong ethnic influences. GRADE: C+.

Batalion D’Amour (Poland): Dotyk Iluzji (Metal Mind Productions MMP CD 0076, CD, 1999)
Rock/Metal/Progressive
Anna Zacher (principal vocals)
Whilst probably best described as gothic metal, the album is in fact closer to hard rock, with a distinct seventies feel to some of the textures. In fact, much of the lead guitar work is almost psychedelic, with a marked West Coast flavour and hints of Jorma Kaukonen. The songwriting is of a good standard too, and there is plenty of symphonic keyboard work, making this a highly melodic and consistently enjoyable album. GRADE: C+.
Batalion D’Amour (Poland): 55 Minutes Of Love (Metal Mind Productions MMP CD 0110, CD, 2000)
Rock/Metal
Anna Zacher (principal vocals)
Much more commercial than the début, this second album is nowhere near as appealing: although it’s competently done, the melodies are far more obvious and some of the instrumental breaks noticeably plod. GRADE: C.
Batalion D’Amour (Poland): W Teartze Snów (Metal Mind Productions MMP CD 0147, CD, 2001)
Rock/Metal/Progressive
Anna Zacher (lead vocals)
The opening cut (also the single) makes overt the pop and industrial undertones from their previous albums, and doesn’t bode all that well for the rest of the disc. But the album quickly improves, never really staying in the same territory and blending in elements of West Coast rock, folk and progressive into a very lyrical and majestic whole. GRADE: C+.
Batalion D’Amour (Poland): Niya (Metal Mind Productions MMP CD 0381, CD, 2005)
Rock/Metal
Karolina Andrzejewska (lead vocals)
The guitars are still metallic, but the feel this time round is much closer to mainstream glossy pop/rock – well executed, but ultimately a little vacuous. GRADE: C.

Bättre Lyss (Sweden): Till Den Sträng Som Brast Än Aldrig Spänna En Båge (Musiklaget MLLP-6, 1975)
Rock
Kerstin Backman (backing vocals), Gunilla Ericson (backing vocals), Kristina Näsström (backing vocals)
This political rock album is varied indeed, from quite heavy tracks with progressive edges and lots of powerful guitar leads through to lighter folk- and country-tinged numbers. Whilst the songwriting is a bit pedestrian, the guitar work is frequently outstanding, resulting in a solid example of its genre. GRADE: C+.

Rainer Baumann Band (West Germany): Fooling Around (Line 6.25.654, 1983)
Blues/Rock
Sarah Kreuzer (joint lead vocals)
This album of commercial pop-tinged blues/rock was never going to be a masterpiece, but the production renders it virtually unlistenable. In particular, the piercing, trebly electronic drums (by Wolfgang Lindner, formerly of Release Music Orchestra, no less) are excruciating and the disc as a whole is something of an endurance test. Even the worst solo work by Baumann’s former Frumpy colleague Inga Rumpf sounds timeless in comparison to this LP. GRADE: D.

Bayan Mongol Variety Group (Mongolia): The Bayan Mongol Variety Group (Melodiya C90-15959-60, 1981)
Pop
Offering an odd mix of Far Eastern and loungy Soviet pop styles, this oddball Mongalian crew certainly lived up to their name. Plenty of synthesiser and fuzz guitar (especially on side two) adds a weird psychedelic edge, with the whole thing having a peculiar, tripped-out, lost-in-time feel. This is one of the three rarest albums on Melodiya, alongside Dos-Mukasan and fellow Mongolians Soyol-Erdene. GRADE: C+.

Bazoche (Switzerland): Bazoche (Evasion EA 100.608, 1976?)
Folk
Brigitte Roehrich (occasional vocals, percussion, concertina, dulcimer, kousse)
With simple acoustic backing and quite a bit of ethnic instrumentation, this is a pleasant traditional folk LP that occasionally resembles an unplugged Malicorne. Like most releases on Evasion, it’s a rare LP, and comes with a beautiful gatefold sleeve. The album is also known as Folk Romand after the inscription on the back cover. GRADE: C+.
Bazoche (Switzerland): La Lune Vole (Evasion EA 100.610, 1977?)
Folk
Brigitte Roehrich (occasional vocals, percussion, kousse)
Like their debut, this features a stunning laminated gatefold sleeve, and once again it’s traditional acoustic folk. Overall this is perhaps the better of their two albums, with a slightly brighter and livelier sound. GRADE: C+.