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Eloy Chronicles I Review by Gary Hill This is an intriguing set. It includes re-recorded versions of songs from various parts of Eloy's history. Eloy is a legendary German prog band, and the music here shows why they have achieved that sort of status. This is a solid set that includes some songs that are more AOR based and others that are more pure prog. This review is available in book (paperback and hardcover) form in Music Street Journal: 2024 Volume 2 More information and purchase links can be found at: garyhillauthor.com/Music-Street-Journal-2024.

Track by Track Review

Poseidon's Creation This cut comes in via a cool keyboard laden jam. It works through the introduction by playing with that until it reaches a peak. Then it drops away and fast-paced bass work takes over. The track works out from there with a lot of style as other instruments are added to the mix. This has a pretty straightforward vibe to it. It's a killer groove that works really well. There are hints of space rock, but it's mostly along the lines of arena prog. It drops to a mellower movement around the four-and-a-half minute mark for the entrance of the first vocals. The track keeps evolving from there. It works gradually up into a powerful movement as it continues. The vocals and instruments cooperate to create that sort of energy and emphasis. It moves out into an instrumental section beyond that that has more of an almost Yes-like progressive rock sound built into it. That section eventually ends the track.

The Apocalypse A keyboard dominated arrangement serves as the background for the vocals as this gets underway. Around the minute-and-a-half mark the vocals drop away and a more full prog instrumental arrangement takes over driving it forward. Some melodic guitar soloing comes over the top further down the musical road. The vocals return over a fuller arrangement. Female non-lyrical vocals take over later, playing more as an instrument. It finishes up strictly instrumental for its last movement.

Silhouette For some reason, the opening of this makes me think of Survivor's "Eye of the Tiger." This has a much more mainstream rocking vibe to it. As the vocals join it feels like AOR -prog. This is a short cut that doesn't get far from its origins.

Mysterious Monolith Trippy keyboards start this. Bass joins as it continues. This works through a lot more pure prog music. I really love some of the bass work on this so much.

Sphinx Dramatic prog gets us underway on this thing. This works through a number of twists and turns. It has more of an AOR side to it, but it's still powerful prog. I can make out hints of ELP and Yes both on this track.

Illuminations I dig the keyboard introduction on this a lot. The track powers out with style as it continues. This has so much energy and power. It's one of the highlights of the set with it's pure prog rocking goodness. It's a great tune.

End of an Odyssey Keyboards get things underway here. The keyboards retain command, and we're taken through some great jamming that makes me think of Keith Emerson and Rick Wakeman. This is so classy and eventually other instruments join, but the keys remain the driving force. It's about five minutes before the vocals enter. This works through as another classy prog rocker. It's a good entry on the album.

Time to Turn This rocker is more of an AOR mainstream number as it gets going. There are some proggy elements, but this is more straight rocker. I really love the bass work on this. The cut has some driving hard rock angles. While the prog stuff is not in command, it is not completely gone. The female vocals later make me think of Pink Floyd a little, but so does the guitar solo. In fact, this whole tune has a bit of a PF feeling to it.

Spirit in Chains More purely prog based, this track still has more of an AOR variant on that type of thing. It has some almost metallic angles at times. This has a lot of shifts and changes. A section featuring a flute solo begs comparisons to Jethro Tull. The whole tune has more of a modern prog angle to it, though. This is actually one of my favorites here.

Say It Is Really True Acoustic guitar starts things off on this. Trippy, spacey mellow concepts grow outward with the song. The vocals come in over this more balladic like movement. The track builds outward from there as it continues. It is more melodic prog than driving hard-edged, though. I can see some comparisons being made to Hawkwind here.

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