Second album from this Roman group (unchanged line-up), released on the same RCA label, and coming with a fascinating artwork, ruined by an unlikely title. The group is still solidly run by bassist Tomasso, but unlike in Azimut, he allows the others (keyboardist D'Andrea mostly) some space for their own material, but he's still by far the most prolific writer in the group. Actually for years and from the opening track of both albums, every time I put either this album or its predecessor I always had to take a look to indeed confirm which one I am listening to. I must say that between Azimut's Posto Di Non So Dove and this album's Non C'e Tempo Da Pedere (no time to lose), both are strikingly similar, from Tomasso's great vocals to the use of a bowed bass and Sidney's Hackettian guitar, and D'Andrea's great piano (first acoustic, than electric).

Genealogia (1974) is their third record and follows the classic Abbiamo Tutti un Blues da Piangere (1973). The 1974 album sounds to me more varied but unfortunately the band leaves behind any vocalising. On the other hand, fortunately, they manage to create an unique atmosphere with the addition of acoustic guitars and saxophones. The most interesting track is the fantastic self titled opener which sounds a lot like a medieval dance, somehow unusual in the jazz rock genre. Other highlights are the explosive Polaris with its light crescendo and excellent work on electric piano and the strong (In) Vino Veritas (the longest track of the album being over 6:40 mns) where they give you a taste of their electric guitar playing. Pretty good the harder sound of this intrument and the slightly dissonant arrengements. The most proggy performance here.

Having started as a traditional jazz ensemble in the late 60s, with the turn of a new decade Perigeo tuned in for the prog rock wave and expanded their style as they began their recording career. Not that they became less jazzy, but definitely they became more sensitive and receptive towards the jazz fusion influence of Return to Forever and Weather Report, post-Wyatt Soft Machine, and even some occasional colours of "Caravanserai"-era Santana latin jazz and a bit of prog-oriented psychedelic sounds. By the time they recorded this, their album no. 4, Perigeo was a well known act in the avant- garde jazz circuits of Italy. The catchy opening track is a perfect example of the band's ability to write attractive musical ideas and technical proficiency (perhaps this is the Perigeo album to start with).

If it never serves any other purpose, this two-disc collection of National Health's complete official output will at least always work as an effective refutation of the belief that all 1970s British prog-rock was overblown, self-indulgent, Mahlerian twaddle. Of course, most British prog-rock was just that, so it would be easy to understand anyone's reluctance to spend much time with it. Also, National Health has to be the least inviting band name in the history of British rock. But if you make the effort, you'll be richly rewarded. Yes, the compositions are long and they have titles like "Borogoves" and "Tales of a Damson Knight." Yes, there are lots and lots of solos. But there's also lots of structure and self-discipline undergirding those compositions and guiding those solos, and the band never seems to lose sight of the fact that they're playing for people other than themselves. That means there are melodies (sometimes even jazzy ones) and rhythmic hooks (sometimes even funky ones…okay, very slightly funky) as well as interesting textures and impressive fretwork. Highly recommended. (This isn't actually a "complete" collection of National Health's recorded output – see Missing Pieces, also on East Side Digital, for a good compilation of outtakes.)

Procol Harum is a band that is (these days anyway) rather obscure, but has had a definite influence on rock music, in general, and progressive rock, in particular. "Best Of" albums seldom are that, and whether or not this one is certainly falls under the area of debate. However, the album is a good introduction to the many sides of this complex and intriguing band. For those who only know of the group's two hits, "Whiter Shade of Pale" and "Conquistador," the disc provides both of them. However, for the more knowledgeable fans, it has a purpose, too. Fans of progressive rock will certainly find a lot of the material here of interest. Besides the aforementioned "Whiter Shade of Pale," which some consider the first progressive rock song, there are other showings of early prog here. "A Salty Dog" is certainly one of these. The song "Simple Sister" is both a solid rocker and, seemingly, a big influence on Chicago's "25 or 6 to 4." "Shine On Brightly" showcases the group's psychedelic tendencies and Beatles influences.