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"Civilian is an album by British Progressive Rock band Gentle Giant which was released in 1980. At this point a near total change of style was in evidence with only a trace of the original verve present. The band lasted only a short time after this outing. This album also marks the return to Columbia Records (the first album on this famous label since the 1973 release Octopus) in the U.S. and Canada. It was cut in the L.A. suburb of Van Nuys in 1979 with former Beatles engineer Geoff Emerick." - Wikipedia

"Here the collaboration and creativity of the early Phil COLLINS let them be famous among the new listeners of this particular genre... besides I like to make a special mention for the tasteful job at bass guitar, both on such splendid fretted and fretless bass guitar... Recommended as the first accessible work by BRAND X !!" - lor68-ProgArchives

"This often overlooked Austrian band epitomizes the whole Austrian progressive movement. The prime mover is Hubert Bognermayr (keyboards and vocals) who later became known because of his pioneering with the Fairlight computer and his ‘electronic hunter’s lodge’ (blessed by international musicians and the famous Bob Moog). The other members were Hubert Schnauer (keyboards and flute), Harald Zuschader (keyboards, flute and guitar), Fritz Riedelberger (guitar, piano and vocals), Gerhard Englisch (bas and percussion) and Frank Hueber (drums and percussion)." - Erik Neuteboom

"Founded by ex-Yes guitarist Peter Banks, Flash showed how Yes also could have become, if Banks hadn't been replaced by Steve Howe (and Tony Kaye by Rick Wakeman). (See my review about their first album, 'Flash'.) The music has a more ballad-like atmosphere, Colin Carter is no Jon Anderson, and Peter Banks has a more jazzy style. On 'In the Can', Tony Kaye (also fired from Yes after two albums!) isn't contributing anymore (on their first album he appeared as a guest!), and that makes this album a keyboardless alternative for Yes, dominated by Banks' great guitar playing. Like my collegue Progbear said: guitar-oriented epic prog, or Yes minus keyboards." - Paul de Graaf-ProgArchives

"Eroc (Joachim Heinz Ehrig) started his solo career in 1975 while he was currently the drummer of Grobschnitt. His self titled album can be considered as a cross between Gorbschnitt’s typical symphonic amazing music and electronic/ synthscapes dominated by numerous original sound manipulations. Despite that he was originally recognised as a drummer, here Eroc is the man behind the machines, controlling solid essays in synth experimentations and electronic collages. His first album is an absolute must in Kraut/ electronic genre, very abstract, emotional and a mix of different moods. This album is an opponent worthy of Klaus Schulze’s first realisations in space/ “kosmische” electronic music." - Philippe Blache-ProgArchives

"This CD EP contains some very nice live material, for example the version of "Karelia" is here extraordinary, much better than on the “Vemod” album. There’s very powerful mellotron arrangements in the end sequence, which truly makes the listeners hairs to rise from excitement! "A Way of Life" sounds as an improvisation, and I believe there's some kind of frippertonics-thing going on. Two other tracks are good also. Not probably the best record as first introduction to the band, but warmly recommended for those who like ANEKDOTEN." - Eetu Pellonpää-ProgArchives

"between all the albums I thinks this is the better, in the begining with ambient synths, short pieces and french narrator about this theater play (a gathering about the situation of an enterprise, from a write in Pirandelo's style), in a incredible mix with words, action (about all that happen in scene) and music, in't the less album with a Pink Floyd sound, is more than a album with french personality, with this "bretonian" subreal imagination, un the bonus of the cd continue with ambien themes of a solo album of the keyboardist. no more to say than listen it!" - Dellius-ProgArchives

"Just as good as their second album , the sound is even more aggrressive , still very much in the line of AUDIENCE (sadly over-looked prog group - even here ) with VDGG influences in the ambiances. Again here the longer numbers like Man Dead and Toenail provide plenty of of instrumental space for everyone to showcase their talent without being too demonstrative . Ther is not one weaker number on this absolutely masterful debut . I just wish that those very aggressive guitar chords in the opener and closer would fit better with the lyrics and singing - a very minor flaw." - Sean Trane-ProgArchives

"Keyboard-oriented rock with some KING CRIMSON, PROCOL HARUM and PINK FLYOD influences. This English foursome made their debut as TUESDAYS CHILDREN back in 1967. Although they did flirt with prog, their record company made sure they never strayed too far from pop. As such, they played the well-known clubs (Marquee, Speakeasy, Scotch of St. James, etc.) and toured extensively with the MOODY BLUES, PINK FLOYD, The TROGGS, The ANIMALS, The NICE, The KINKS, Jimi Hendrix, The WHO and a budding KING CRIMSON to name but a few. In 1970, they changed their name do CZAR, released one eponymous album and then broke up." - Lise (HIBOU)-ProgArchives