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Personnel: Fritz Riedelberger (vocals, guitar, piano); Hubert Bognemayr (vocals, keyboards); Harald Zuschrader (guitar, flute, keyboards); Hubert Schnauer (flute, keyboards); Frank Hueber (drums, percussion); Gerhard Englisch (percussion). Audio Mixer: Jürgen Koppers. Liner Note Author: Marco Rossi. Recording information: Arco-Studio, Munich (04/1976-06/1976). Photographer: Wolfgang Kraml. Arranger: Eela Craig. How is it that Eela Craig haven't gotten more attention from lovers of `70s Euro-rock? Is it because they were too Austrian or too arty for Krautrock lovers, who prefer the grittier, more visceral sounds of German bands like Can and Guru Guru to Eela Craig's sophisticated prog stylings? On the other side of the fence, did they miss out on inclusion in the pantheon of classic prog bands because they weren't from England, or were lumped in with the Krautrock scene? Whatever the case, their second album, One Niter, is a grand-scale prog rock masterpiece. There was a five-year gap between One Niter and the band's debut album, which gave Eela Craig plenty of time to evolve from the post-psychedelic sounds of their first effort. With three members handling keyboard duties at various times -- sometimes all at once -- One Niter is a prog keyboard freak's delight, with organ, piano, electric piano, synth, Mellotron, and clavinet all making for a rich, lush sonic tapestry. Of course, it's not strictly a keyboard-focused effort -- the rhythm section and the guitar get their say too, and the end result is best compared to the symphonic-prog territory of Camel, Yes, et al., with a spacier vibe that sometimes brings Meddle-era Pink Floyd to mind, especially in the David Gilmour-esque guitar licks. And it wouldn't be classic prog if One Niter weren't centered on a couple of epic-length tracks ("Circles," "One Niter Medley"), but after all that intensity, the spare, concise "Venezuela" provides a perfect palate cleanser/comedown with its folk-inflected acoustic-guitar-and-flute arrangement. Floyd fans should take further note of the album's back cover photo of the bandmembers standing beside all their gear in a bucolic outdoor setting, which one can't help but see as a nod to Ummagumma. ~ J. Allen
