Yezda Urfa - Sacred Baboon (1976)

Yezda Urfa were an American band that recorded and performed during the 70s, but unfortunately broke up after experiencing no record label interest for their second album, Sacred Baboon, in the decidedly prog-unfriendly waters of the later 70s.  However, Greg Walker's Syn-Phonic label managed to dig up the album and gave it proper release in 1989.  The band can can actually be fairly easily described as an eccentric amalgamation of Yes and Gentle Giant.  The bass player sounds like Chris Squire, the guitarist plays like Steve Howe and the singer sounds somewhat like Jon Anderson, but the song structures are much more reminiscent of the angular and overtly complex territories of Gentle Giant, including complex vocal harmonies, though perhaps approaching the fiery intensity of Relayer times.  Still, the band lacks the same kind of compositional variety of either of those two bands, instead relying on superbly intense and frenetic playing that can be utterly jaw dropping throughout the album.  For the most part, the band doesn't vary from their impressive attack, but occasionally moments of traditional Yes-like beauty provide some breathing room.

"Give 'Em Some Rawhide Chewies" is immediately impressive, and rocks out from the first second of the album.  Songs like "Cancer of the Band" and the beginning of "Boris and his Three Verses" illustrate a more plaintive, melodic side to the group, before breaking into dazzling instrumental portions.  The aforementioned "Cancer..." as well as "(My Doc Told Me I Had) Doggie Head" also feature great multi-part vocal harmonies that are directly out of the Gentle Giant book.  Vocals are actually the weakest link in the band.  I've never been a huge fan of Jon Anderson anyway, but it seems like Rick Rodenbaugh ends up rushing a lot of phrases to keep up with the breakneck changes and playing.  To me, the vocals just don't fit in a lot of points where they are used, and only rarely to their function as an attractive centerpiece to a song, generally distracting from the great instrumental work instead.  Still, this is one of the finest examples of American progressive rock from the 70s.  Superb musicianship and on-the-dime, well executed playing is the definite highlight.  A fun album, if not the most original thing I've ever heard. - Greg Northrup [April 2001]

Click Here for Tracklist and Lineup Info

---

John Young - Life Underground Demos (1999)

For someone as wildly traveled within the music industry as John Young, you would have thought his name would have sparked a lot more awareness on the world stage. Having collected progressive music for over thirty years, I must admit to not having heard much about him before, other than his efforts with Asia, Scorpions and Paul Rogers. His solo affair, released in 1999, was a bit of a surprise for me inasmuch that, although I found the overall quality of songs fairly high, there was still that little magic component that was missing.
       
John has a pleasant enough voice and the instruments are pushed well forward in the mix, especially the drums, but the main factor that is missing is the replay ability of the whole CD. The songs which are, for the most part, simple ballads just don't have that memorable ingredient that is essential to enable an artist to break into new territory and hence, increase sales.  If I had to make a comparison, I feel this is the sort of music one might hear from a more modern variety of Al Stewart if he ever decided to emerge from retirement. While nowhere near as good as “The Year Of The Cat,” the ten songs contained on this demo disc all have their strengths and some weaknesses. Unless a singer-songwriter is blessed with an amazing talent to write really clever and accessible songs, they will always be lost in a sea of obscurity. In this case the songs all pretty much sound like B-side also rans.

The instrumentation includes the normal assortment of guitars, bass, keyboards and drums with a few extras like saxophone thrown in here and there, but in all fairness, this really doesn't get out of second gear as there are no standout sections that make you take any great amount of notice. Perhaps if he involved some other people with the song writing, the output would be more appealing. Although John's previous involvement with other progressive bands has attracted far greater attention, I believe this one may well remain completely underground. - Greg Cummins [December 2001]