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Album Review

Some four years after the demise of the Nice, bassist/vocalist Lee Jackson and drummer Brian Davison finally found a way of profiting from the prog rock gravy train they'd helped set in motion. With Patrick Moraz filling Keith Emerson's capacious boots, they recorded an album that in many ways surpasses anything the Nice ever recorded, and one whose ambition more than matched Emerson's new outfit, ELP. It helped that along with the standard panoply of prog keyboards — organ, piano, clavinet, Mellotron, and Moog — Moraz brought with him a jazz feel that clearly energized the rhythm section. Though there's no shortage of de rigueur complex time signatures here, this is also a band with fire in its belly, nowhere more so than in the last five minutes of the extended "Credo," where Jackson's bass runs and Davison's drumming combine to truly thrilling effect. Jackson's voice has always divided fans between those who find it an appalling croak, and those who relished its wry phrasing, but it has never sounded more impassioned than it does here. Perhaps the instrumentals "Papillon" and "Ritt Mickley" are a little too pleased with themselves to strike an emotional response. Yet elsewhere, despite the fearsome complexity of Moraz's arrangements and the odd lapse into portentousness, there is usually a soaring melody line to quell any doubts. All told Refugee's only album delivered enough to suggest that they could have delivered at least another two killer blows before punk finished them off. In the event, it functioned purely as a convenient shop window for Yes, who were in the market for a new keyboard player after Rick Wakeman's departure.

Customer Reviews

The stars are for tracks 2 through 7

First, listen to the Grand Canyon Suite "Theme" and '"Journey" clips. The album ranges from the somewhat ridiculous (Papillon) to the sublime (Someday/Grand Canyon Suite). I only rate tracks 2 through 7; the remainder are either too lightweight (Papillon; Ritt Mickley) or too dark and forced (Credo). Someday and Grand Canyon Suite combine intense emotion with subtlety and unpredictability, to provide tight 70's progressive rock with jazz/blues tinges. Although Patrick Moraz's soaring synth and piano are outstanding throughout, it's the precision and energy of the ensemble -- and particularly the drumming -- that provides the energy that makes this music sparkle. You can also hear the 60's in this music -- think Procul Harum or the Moody Blues with a lot more zap. You WILL want to get tracks 2-7.

A Collector's Dream!!

I bought this album when it came out and played it to death. I searched for a replacement and couldn't find one at a resonable price. Well, the search is over!! If you are a fan of progressive rock, you have GOT TO GET THIS ONE!! It would have been "Nice" if they had put out another recoed but this one will do quite well and thank you Mr. Moraz for remastering it!!


Genre: Rock

Years Active: '70s

You have to feel for bassist/vocalist Lee Jackson and drummer Brian "Blinky" Davison. By the end of 1969, the three years of hard work they'd put in as the engine room of the Nice were beginning to pay dividends. From being P.P. Arnold's backing band, through the early days of psychedelia, they had gone on to lay the foundations for what would become known to future generations as progressive rock, and had begun playing prestigious gigs with full symphony orchestras. But Jackson and Davison must...
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Refugee, Refugee
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Customer Ratings