Mona Lisa ~ France

Grimaces (1975)

Mona Lisa were the second most known band operating in the French Theatrical Progressive rock style, well behind the progenitors of the movement: Ange. Grimaces is their sophomore effort and is a major leap in quality from their debut - at least in terms of production and overall songwriting. While lead singer Dominique Leguenec most certainly dominates the recording with his impassioned and unique vocal style, the band doesn't sit back and buy a ticket to watch. There's plenty of musical breaks and exciting instrumental flights of fancy. Though Mona Lisa's next two albums are considered their classics, Grimaces might be my favorite. It's a bit more raw and unpolished. Essential for the style, regardless.

Ownership: 1975 Arcane (LP). Yellow and black label (there exists a white and red as well). Rough paper sleeve. Acquired in 2000.

2000; 2//06; 8/7/23 (review)

De l'Ombre à la Lumière (1998)

De l'Ombre à la Lumière is, in effect, the 5th Versailles album. Due to the presence of charismatic vocalist Dominique Le Guennec, the band opted to name themselves Mona Lisa out of respect. Not to mention that Le Guennec co-writes eight of the nine tunes here. My guess is he's the lyricist, but there's no definitive proof of my assumption. In addition to Le Guennec the band recruited Philippe Maury, formerly of Quidam (Reflets Rocks), to perform bass duty. No matter, as Versailles' fingerprints are all over this. Not quite the instrumental powerhouse of the last three Versailles albums, which in addition to the Ange / Mona Lisa sound, also were profoundly rooted into the Pulsar space rock motif. The music of De l'Ombre à la Lumière is a bit more straightforward, similar to classic era Mona Lisa albums like Le Petit Violon de Mr. Gregoire and Avant Qu'il ne Soit Trop Tard, perfect for highlighting the histrionics of Le Guennec's front-man routine. Plenty of great flute and mellotron points to Mona Lisa's 70's heritage - and Versailles' intentional retro instrumentation. Interesting to note that Le Guennec sat out for the last Mona Lisa album (Vers Demain), only to return some ten years later with Versailles in tow and the other members of Mona Lisa nowhere to be found.

Ownership: 1998 Musea (CD). Acquired in 1999.

1999; 11/5/12 (review)

Other albums I own: L'Escapade; Le Petit Violon de Mr. Gregoire; Avant Qu'il ne Soit Trop Tard; Vers Demain

11/5/12 (new entry)

Ada le Fol ~ France

Les Années d'Errance (1980)

Ada le Fol is another example of the groups* of the French underground that played in that unique theatrical progressive rock style made so popular by Ange and Mona Lisa. Les Années d'Errance is more underproduced and amateurish, just as like-minded bands such as Trefle and Grime are, but that's honestly where the appeal lies. It's creativity at its most raw. The vocalist here does a fine job at the Decamps style, while the keyboards and guitar keep the progressive quotient alive. 

The album starts a bit tentatively and seems to be on a hard downhill slope with a throwaway good-times rock and roller (the awful 'Les Bons Conseils'), But starting with the non-bluesy 'Breizh Blues', the album proves to be a strong example of the French vocal-prog style.

*I didn't realize until getting this on LP, that Ada le Fol is a person. As it turns out, it's a pseudonym for a one Alain Rouquette. We made the change on Discogs as well, as it's a little known fact. Despite this tidbit, it remains a full band effort.

Ownership: 1980 Disques Velia (LP). Lyric / photo insert. 

No reissues as of 3/30/25.

12/8/10 (first listen); 9/14/19; 1/15/22 (review / new entry)

Synopsis ~ France

Minuit Ville (1979)

Synopsis were part of the second wave of French Theatrical prog groups who were heavily indebted to bands such as Ange, Atoll, and Mona Lisa. Synopsis does not disappoint the perceived expectation: Creative compositions, impassioned French vocals, primitive synthesizers / organs, decent guitar work, and a bare bones minimum rhythm section that holds it together. There’s a wonderful naïve quality about these French groups (for reference others include Grime, Orion, Nuance, Trefle, and Oniris) who appeared on the scene in the late 1970s. All were a day late and a Franc short, so the collective groups needed to produce and release their own product, as the major labels had moved on to greener pastures. The long track rock epic had already seen its commercial heyday, and there was no going back by the time these lads were ready to roll the tape. So yes, more time in the studio with an experienced engineer - with access to some better musical equipment (ARP String synths en masse) - would probably have gone a long way to making Minuit Ville an even more pleasurable experience. The material is strong enough to hold its own though, and fans of the genre (like moi) will definitely want to seek this one out.

For whatever reason, this album cover remains a personal favorite. Similar to Maneige's Ni Vent... Ni Nouvelle. That of the lonely child at peace. 

For reasons that are not clear, Musea never did reissue this on CD, even though I remember talking to them about it back in 1991. Si-Wan did however (in addition to the LP), and it's now pretty scarce.

Ownership: 1979 SRC (LP). Acquired in 2012.

First copy: 1994 Si-Wan (LP). Gatefold. Acquired in 2000. Downsized in 2026.

2000; 10/18/06 (review); 11/10/20 (update)

Also own: Gamme

11/20/20 (new entry)

Elohim - Mana Perdu... 1983 France

Start with Seven Stories Into Eight era IQ (that is to say... the beginning), then toss Peter Nicholls out of the band, and invite instead Christian Decamps or Dominique Le Guennec. Now Tim Esau, time for you to leave, and we'll bring in Bernard Paganotti. Well, not Paganotti himself, but maybe a first year student of the master. Paul Cook - yea I think you're probably too good, and we'll just bring in some bum from the street to play drums. Holmes and Orford, you get to stay, though Martin you need to keep the palette of keyboard sounds to a minimum.

OK then.... Mana Perdu!

There's something incredibly charming about these old early 80s amateur prog bands. I first heard this album on LP in 1988, and it did nothing for me at the time. Now I hear it as something of a classic. Funny how that works... You really need to be a fan of the genre though, or otherwise this is not likely to resonate at all.

BTW - vocalist Jean-Paul Trutet went on to form Hecenia, whose second album La Couleur Du Feu is something of a modern masterpiece.

Personal collection
CD: 2000 Musea

For some reason the CD changed the band moniker's font. I like the original better (as pasted here).

Ange ~ France

Guet-Apens (1978)

Recently I had revisited Ange's debut Caricatures, and by pure chance, I'm now revisiting Guet-Apens, the other bookend of their progressive rock phase. While many of their peers had moved on to vapid pop music, Ange kept up the good fight with one last go at a progressive rock epic. And honestly, this is probably their most fully realized album from an instrumental perspective. Of course Ange had been, and always will be, a theatrical bunch. And that's no different here, as Decamps literally spits his words out at times. Let's put it this way, I wouldn't want to be the "microphone cleaning guy". On the other hand, Guet-Apens is Ange's mellotron album, fully front loaded with strings and choirs all throughout. I have one former colleague who insisted that Guet-Apens is Ange's finest work by a long mile. I won't go that far, as I feel it's not as representative of their sound like Au-Dela Du Delire is, but his observations weren't unwarranted either. If your previous experience with Ange is that they're "way too much French", but enjoyed the musical aspect, then Guet-Apens is where you should turn next. Unfortunately after this album, the band finally did give in, and turned to pop slop for the next 20 years. After which, they rediscovered their progressive past, but it was never going to be the same. Guet-Apens is the end of an era for Ange.

Ownership: 1978 Philips (LP). Two page insert plus a lyric inner sleeve. Acquired in 2000.

2013 Mercury Japan (CD). Papersleeve. Part of a box set. Acquired in 2013.

2000; 12/11/11; 4/1/17 (review)

Caricatures (1972)

It all starts here for the French theatrical progressive rock movement. Prior to Ange landing on the scene, most of the French bands of the era were singing in English and, more or less, were copying their European brethren across the Channel. Anyone who knows their history should know that isn't going to last long. And Ange is French with a capital F, despite originally forming from the borderlands of Switzerland and Germany. The music is as much about the language than it is the instrumentation. Even for those who don't speak French, the intonations, drama, and enunciation of words is fascinating. The general assumption is that Ange were looking to emulate Genesis, and there's some truth to that. It's a guidepost, but it doesn't tell the whole story. Ange brought back national pride, and arguably are the most famous progressive rock group to have ever emerged from France - not counting those who speak Kobaian of course. So if all-instrumental albums are your bag, you've definitely arrived at the wrong place. But that's not to say there aren't long stretches of vocal silence, and one can certainly appreciate Ange strictly on that level too. The sound is raw and grimy, especially the organ, and is closer to what we now call proto-prog than a fully fledged Foxtrot. Yes, the production is muddy, but that's part of its charm. Ange were to improve from here, but this is a very fine debut that has aged well.

On this listen I heard the Japanese mini and the original LP one after the other. No matter what format and version you listen to, it will not clear up the production. So don't try too hard to find the perfect copy. It is what it is, as they say.

---5/16/26

As I hear this album again for the first time in nine years, the review above definitely holds. It's a very enjoyable listen once you prepare mentally for the vocal approach. I didn't mention that the CD bonus tracks were taken from two different 45 singles released in 1972. These are not overt commercial oriented tracks but rather seem like outtakes from the group's repertoire at the time. 'Le Soleil est Trop Vert' is the most poppy song here and even here they provide some instrumental twists. 'Docteur Man' points to a psychedelic past with some fine fuzz guitar soloing. 'Le Vieux de la Montagne' demoinstrates Ange's prog rock stance, but it in short form. Overall these songs are a worthy addition to the overall package.

Ownership: 

1972 Philips (LP). Acquired in 2000.

2013 Mercury Japan (CD). Papersleeve. Four bonus tracks. Part of a box set. Acquired in 2013.

First copy: 1989 Disques Marianne (CD). Acquired in 1996.

1996; 1999; 1/29/17 (review); 5/16/26

Other albums I own: Le Cimetiere Des Arlequins; Au-Dela Du Delire; Emile Jacotey; Par Les Fils De Mandrin; Tome VI

Once owned: En Concert 1970-1971

1/29/17 (new entry)

Rictus - Christelle ou la Decouverte du Mal. 1981 France

Rictus' debut is very much a deep underground album from France. Raw and primitive overall but with some cool compressed fuzz guitar sounds and a vintage 60's organ to go along with Fender Rhodes, Moog and even some cheap 1980's era synthesizers. At times the album recalls Nuance's Il est une Legende, especially concerning the ferocious fuzz guitar leads. There's also some dramatic Ange style vocals that are reassuring in this setting. There's almost nothing 1980s about this album, other than the aforementioned keyboards (and even at that, they are rarely deployed).

CD: 2012 Strawberry Rain (Canada)

An extremely rare album, the original LP was pressed in a limited edition of 250 copies for friends and fans, with the surplus ending up in a village record store. I can remember having this one on a curiosity list going back to the mid 1990s. Le Kiosque D'Orphee is a very similar label to FLVM, and was basically an LP pressing plant for those who could provide a master tape. The CD is housed in a nice mini-LP sleeve, complete with liner notes, photos, and bonus tracks. The bonus tracks are from later versions of the band. The leader of Rictus was directly involved with this reissue. 

Versailles - Blaise et Benjamin. 1998 France

Hearing this again tonight reaffirms my position below. 

Taking the sound of Le Trésor de Valliesres even further along their 1970's French heritage, Versailles have now fully embraced the space rock sound of Pulsar. Especially on the two opening lengthy epics  'Blaise et Benjamin' (15:21) and 'Poison de Passion' (19:19), whereas the two shorter tracks (short being a relative term here as both tracks clock in well over 9 minutes each) return to their theatrical Ange and Mona Lisa roots. There is more room given to the instrumentals, and space is created for guitar riffs and solos, along with keyboard atmospheric sequences and organ demonstrations. If looking for English equivalents, or bands you may be familiar with, what you have here is classic Genesis meets Pink Floyd, both within their respective most progressive era. However, there's no mistaking Versailles' Gallic roots, and to repeat what the true influences are: Ange meets Pulsar. 'Poison de Passion' I believe to be Versailles' most 70's inspired track of their career.

This was to be the last album from the great Versailles, and they fortunately finished at the top of their game. However, the band essentially continued under the legendary Mona Lisa moniker for one final album, as they fulfilled the instrumental sections for lead vocalist Dominique Le Guennec. And Versailles' de facto leader Guillaume de la Piliere pushed on with three solo albums, though all missed the synchronicity of a full band effort.

Ownership: CD: 1998 Musea. Purchased new upon release. Jewel case. Booklet has French lyrics and photos.

11/8/12 (new entry); 9/9/18; 6/6/21

Versailles - Le Tresor de Valliesres. 1994 France

Versailles' 3rd album continues to mine the 1600's French bawdy theme of Don Giovanni, and actually expand upon, the motif artistique of the theatrical French bands like Ange and Mona Lisa. The album cover art perhaps underscores this more than the music itself. Musically, Versailles doubles down on the direction of its predecessor. On Le Trésor de Valliesres, Versailles goes for broke on their early 1970s sound and composition obsession, going as far as adding mellotron and throwing in crazy progressive ideas / meter shifts / thematic inconsistencies wherever they feel like it. Add to that the Chris Squire inspired bass playing, and Gilmour (or perhaps more pointedly, Pulsar) styled glissando guitar, and you're in progressive rock heaven (at least how I define it). Had this album been released in 1974, it would today be considered one of France's all-time great symphonic progressive masterpieces. But alas, this was 1994, an era that is today much looked over. But have no fear fellow intrepid travelers, the eventual discovery is coming. And we'll be awaiting when the ships arrive. For those that love Gallic progressive rock, this one is an all-timer.

Ownership: CD: 1994 Musea. Standard jewel case release with a most fascinating cover. 

1994; 11/8/12 (new entry)

Versailles - Don Giovanni. 1992 France

All that was wrong with the debut was corrected here. Versailles put everything together on Don Giovanni for a mature progressive rock album in the theatrical French language tradition - itself a nationalistic response to the immense popularity of those pesky English and their blasted Genesis. So, in effect, Versailles are to Ange and Mona Lisa what IQ are to Genesis. And vocalist/guitarist/flautist and overall ringleader Guillaume de la Piliere is their spiritual heart, in the same way Peter Nicholls is for IQ. His vocals are the centerpiece to the compositions, but since most of the tracks clear the 10 minute mark, plenty of room is given for the most impressive instrumental work.

What was so striking about this release in 1992 was the pointed use of analog equipment, something that was highly unusual in its day. Hammond organ, string synths, Rickenbacker bass (or similar), acoustic and compressed electric acid guitar solos are all out of the 1978 French cookbook. If you've heard the private press French albums from this era (Arachnoid, Archaia, Nuance, etc...), then you'll know exactly the type of guitar sound I'm talking about here. 1992 is also the year Anglagard burst onto the scene, and yet Versailles went by with barely a mention. The good news is they continued on from here with two more albums (really 3 if you count the last Mona Lisa album), which are arguably even better and more powerful.

Ownership: CD: 1992 Musea

9/1/12 (new entry)

Orion ~ France

La Nature Vit, L'Homme Lui Critique… (1979)

In the early 1970s, Ange were the big name in French rock. Combining the progressive rock of Genesis and Yes with theatrical lyrics in the native tongue proved to be all the rage in France during this time. And naturally enough, it spawned an entire music movement with the side benefit of national pride being displayed. Mona Lisa were probably the style's most known student, but plenty of lesser known groups sprung up during this period as well. The CDRWL is filled with them (Trefle, Oniris, Ada Le Fol, and many others). Musea, too, in the early 1990s did their part in educating the world on this most unique and peculiar French style. Bands like Grime, Pentacle and Synopsis were introduced to us, and the pot seemed endless. Orion was but one of these groups - and certainly one of the more inspired bands of the era. Flute, electric and acoustic guitars, a hyper rhythm section, and of course the impassioned vocals define this mature work. There's a touch of Pulsar's space rock sound as well. With the right breaks, Orion could have been huge. But alas, 1979 was too late. 

Ownership: 

1979 Oxygene (LP). Acquired in 2019.

1993 Musea (CD). Booklet with liner notes and photos. Includes two bonus tracks taken from a single. For whatever reason, the band chose to go with a new sleeve. I kind of like the original myself, goofy as it is. The newer one is soooo 1990s clip-art. Acquired in 1993.

1993; 10/3/11 (review / new entry)