01	Future Legends						01:32
	02	Decision						06:28
	03	As Day Breaks With Dawn						05:03
	04	Graveyard Epistle						06:19
	05	Lord Of The Incubus						06:27
	06	Olde Tyme Future						05:38
	07	Song For A Thought						07:35
	08	Future Legends						00:53

SRMC 1025 Korean CD

Peter Farrelly, Stephen Hoston, Vincent McCusker, Martin Foye
Originally recorded in Kent, England 1973

"As Day Breaks with Dawn" form Future Legends and
"Faced with Shenikah" from Seven Secrets were
omitted to accommodate a single CD release.

Fruupp - "Future Legends" (1973) Legendary and truly wonderful symphonic progressive rock band from Ireland who unfortunately never got the attention they were worthy of. Guitarist Vincent McCusker, who also was the main songwriter in the band next to keyboard-player Stephen Houston, formed the band. Their influences was quite the usual stuff for a progressive rock band (Genesis, Yes and so on...), but they managed to make a sound of their own, much thanks to the distinctive keyboards of Houston (who used keyboards like farfisa-organ and string-synths instead of the Mellotron and moog). "Future Legends" is a classic debut-album with only good tracks. "Olde Tyme Future" remains one of their most beautiful and emotional tracks ever, with a heavenly melody, great vocal-harmonies and atmospheric organ. "Decision" features some aggressive guitar-work from McCusker and some high-pitched vocal-harmonies from Houston. "Lord of the Incubus" and the gloomy "Graveyard Epistle" has some really tight and intense instrumental-parts. Houston also plays oboe on the latter one. "Song for a Thought" builds up from a relaxed vocal-part to an energetic, full-blown symphonic finale. Great! Here you'll also hear the band's ability to integrate strings in their music, even on the more up-tempo parts. "As Day Breaks With Dawn" sounds partly like aggressive Genesis with farfisa-organ. As I said: a classic debut.


Fruupp - "Seven Secrets" (1974) The second album was a more relaxed, atmospheric and low-key work than the debut. The album often focuses on long and quite free-floating atmospheric instrumental parts, especially on "Garden Lady". The best track of the album is probably "Faced With Shekinah". A complex masterpiece that combines the sound of the first album with the baroque-influences of this album to perfection. "White Eyes" is a track that reminds me a lot of the quietest parts from "Tubular Bells", and it also includes some of the best vocal-harmonies the band ever recorded. And what a wonderful, fairy-tale like atmosphere on this track and the short title-track. Their classical influences also shines stronger through here than on their debut-album. "Wiser than Wisdom" starts with a string-dominated instrumental part that soon goes into an excellent organ-riff. You're taken right to heaven when the vocals starts, before the whole track goes into a hypnotic, baroque-influenced instrumental-part. The fairy-tale feel and atmosphere of this album is just great. The baroque-influences are taken even a step further on "Elizabeth". "Three Spires" is a wonderful, symphonic and folk-influenced ballad. This album is always a winner with me when I'm in the mood for some relaxed and atmospheric symphonic progressive rock.





Fruup [Ireland]
Future Legends (73), Seven Secrets (74), Prince Of Heaven's Eyes (75), Modern Masquerades (75)

Fruupp were an Irish band who released four albums of pastoral, progressive rock, quite similar to Genesis of that period. However, they were eclipsed in popularity by that band and were not as well known. The Prince Of Heaven's Eyes is from 1974, and contains all the trademarks of that era, including the ubiquitous mellotron. The music is very melodic and will surely appeal to those who enjoy the symphonic, keyboard-oriented style of prog rock. Songs for a Thought is a compilation (clocking in at just under 76 minutes) that collects material from their releases (plus an otherwise unavailable bonus track), and should serve as a fine introduction to the band. The music is centred around the keyboards of Stephen Houston, with lush Mellotron-strings backgrounds and melodic piano comps and leads. The style is probably quite similar to what Genesis did in the early-to-mid 70s, a bit mellower, though fuller sounding. Additionally, Fruupp employ a wider arsenal of instruments including violin/cello and oboe.

This somewhat overlooked band hails from Ireland and has a very symphonic sound which compare favorably to old Genesis. They had four releases, with Modern Masquerades being far and away their best. This is a classic band that, unfortunately, all too few people are aware of.

Early symphonic band from Britain that sounds as much like Cressida, Spring, Beggars Opera et. al. than the many Genesis comparisons. Also sound a bit like Family, and have a possibly more odd symphonic/vaguely folky sound

Irish folk-rock band, who's sound is vaguely comparable to the quieter more idyllic side of early Genesis circa Trespass, but with a stronger folk influence. Really nice stuff when one listens closely, but fails to generate any real long term excitement.

Modern Masquerades is ok, but sounds a little dated and has too much electric piano for my tastes. It does have some beautiful passages and excellent arrangements, though.

Future Legends is a near-classic of British-style prog. From Ireland, Fruupp gave many of their British contemporaries a run for their money (figuratively, of course). Centre stage of Future Legends is the sublime guitarist Vincent McCusker. His ripping style full of fast runs and arpeggios brings to mind Jan Akkerman. The music is given a magical cast in the lyrics and vocals of bassist Peter Farrelly. The lyrics are more explicitly fantasy-orientated even than Yes, while Farrelly's voice has an affable high-pitched Celtic tone that makes their music uniquely Irish sounding. Keyboards by Stephen Houston take a back seat to the up-front guitar. Houston also plays oboe, giving an odd Middle-Eastern feel to a few of the darker passages, and also sings some wordless vocals in an ethereal falsetto. Future Legends gives all these elements their proper measures, especially McCusker's guitar, which is all over the place in "Decision", "Graveyard Epistle" and "Lord Of The Incubus." Definitely worth seeking out. Seven Secrets is a bit of a transition. McCusker's guitar is still at the helm, but the music is becoming more subdued, even folky. Also, there are more overt classical references. In fact, the intro to "Faced With Shekinah" sounds directly lifted from Vivaldi's "Spring" concerto (of course, one of The Four Seasons). By the time of Prince Of Heaven's Eyes, the music had become still more subdued. Houston's keyboards had fully come to the fore by now, adding some icky string-synth to his keyboard arsenal. The manic riffing of earlier albums is now all but a memory, exchanged for a subtle, dignified type of music with a strong classical base, centered around Houston's piano and organ. Although it doesn't generate the excitement of Future Legends, the music is not without its melodic charm. "Crystal Brook" is the most breathtaking song on the album. "It's All Up Now" and "Annie Austere" are pleasant and memorable. "Prince Of Darkness" is a quaint novelty. The CD adds a bonus track: "Prince Of Heaven.". -- Mike Ohman