Despite the title, this really isn't a "third" album, but rather a live concert from October 18, 1972 in Koln (Cologne). The majority of the disc is taken from their second and last album Girlrls! There is one new 5 minute composition entitled 'Lilybaeum' which is a quite nice atmospheric piece. The highlight of the album is Houschang Nejadepour's frenetic solo on 'Hallimasch'.
This is one of many great archival finds from Garden of Delights. They also later released a second live album from Eiliff entitled Bremen 1972.
CD: 1999 Garden of Delights
LP: 198? Omega Studio
CD: 2009 Belle Antique (Japan)
A true original LP is very rare. Omega Studio is a re-branding of Prodisc, so it's in effect a second pressing. All the CD reissues feature two bonus tracks (a single from 1974 that is very good). The liners for the Musea edition is in French. The Si-Wan is the exact same, with one page of additional notes in Korean. Only the usual Japanese liners for the Belle Antique version. The cover is one of my all-time favorites, and the LP is a centerpiece of my media room.
Ft. Wayne's Ethos were like many bands of the Midwest whose obsession with Yes, Genesis and Gentle Giant are well documented. These English progressive bands would enjoy regular airplay on the local underground, and very popular, FM stations played throughout the region. Concerts were met with great enthusiasm, and any kid that possessed a great talent for musicianship along with a hyperactive imagination, were quickly assembling together a band and making a go of it for themselves. Most ended up nowhere. Some procured a private release handed out at sparsely attended concerts by local union workers who were more interested in the booze and broads than the music itself. And then a few made the "big time". In this scenario, Ethos were one that MADE IT. Today, they're the kind of band that late middle aged guys whisper quietly about in a game of I-know-more-about-music-than-you-do. As in "I own an album I bet you haven't heard, that's way cool - a band called Ethos. Bet you haven't heard of them!". So basically popular enough to still be called out by over-aged dorks, yet too obscure for anyone at Corporate America to give a rat's ass about. Pretty much sums up the American progressive rock scene of the 1970s doesn't it?
LP: 1976 Capitol
CD: 2009 EMI / Capitol (Japan)
With an original album on a major label such as Capitol, some may find it strange that the only way to obtain Ethos' classic debut Ardour on CD is via a Japanese press. But perhaps not so strange given the pathetic stance of the money hogging pop culture of the music business in America. 1976 was a different time and place for both American culture and business in general. So an album like Ethos could squeak in on a major label, make a decent profit, and everyone would go home happy. Today, I'm sure Ethos is held up at corporate meetings as a prime example of "Mistakes from the Past - How to Avoid them, a Seminar".
It wasn't long after I discovered Tangerine Dream in the early 1980s, that I found myself immersed in the Froese discography. And I promptly picked up every album from Aqua to Pinnacles. None were as profound to my young ears as Macula Transfer.
For me, Tangerine Dream's Phaedra and Rubycon were life changers - albums that altered the way I viewed, and ultimately listened to, music. To this day Rubycon is a Top 5 album, and probably will always remain that way. So it has always seemed strange to me that Aqua and Epsilon in Malaysian Pale never resonated in a similar manner. Froese's solo albums typically represented the same style of the corresponding Tangerine Dream album of the same year. And in that way, both Aqua and Epsilon in Malaysian Pale are further elaborations on ideas set forth prior. And since they are indeed solo albums, they do indeed sound like stripped down versions of the more fleshed out Tangerine Dream trio. I never embraced them in the same way. So last week, as I picked up a new Green Brain LP copy of Aqua, I was determined to give it one more shot. And still no emotional movement. Just so I'm clear - I think these albums are excellent. They are absolutely essential to a serious electronic music collection, and they both come wholeheartedly recommended from me. But they aren't special in the same way that Phaedra and Rubycon are. To me, that is.
So with all that out in the open, let me state now that Macula Transfer is indeed that special album. It was always the "odd album out" in the Froese catalog. It's the only album by Froese, and Tangerine Dream for that matter, that was released on Brain Metronome exclusively. No represses on Virgin. And because of the latter omission, finding Macula Transfer on CD has become quite the challenge. But before we go to that topic, let's discuss the music. Because it too is quite unique. Macula Transfer is unlike any Froese album... or Tangerine Dream album. It is not Froese's solo response to Stratosfear. Or to anything else. Even today, as countless artists try to recreate the "classic trio" era of Tangerine Dream, no one has really attempted a try at what Froese did here. Basically Froese mixed his obsession of the mellotron with an instrument that he had basically packed away for several years -- the electric guitar. And other than maybe Electronic Meditation, there is no other album from Froese that features as much psychedelic noodling as Macula Transfer. His mixing of choral mellotron with atonal fuzz soloing remains a highlight of his entire canon, and is downright chilling.
LP: 1976 Brain
CD: 1998 Manikin
There are other CDs, but they are all remixed versions that are not desirable. The Manikin CD is the only one from the original masters tape. Unfortunately it's very difficult to find now, and has become quite expensive.
Now a word about Edgar Froese and reissues. The dude is downright goofy about his past work. Clearly he suffers from OCD, as he cannot leave well enough alone. So rather than release straight reissues of past material, he finds it necessary to either re-record, or remix all of his previous work. So there's a Macula Transfer 2005 for the 5 people who are interested. As my cohort Mike says on these very pages: "Edgar's got a serious penchant for adding graffiti to his old art that's extremely frustrating to his fans and to date I haven't seen a single positive review of the redos of albums like Epsilon and Aqua, which apparently have been techno-fied and modernized and well, just about everything a classic fan doesn't want." Unfortunately if you want the original recording, you'll need the Manikin CD - or the multitude of Brain LP releases.
There is no better progressive rock album from Switzerland than Movin' On. The first 4 tracks are really swell, but what sends this album to the stratosphere is the 22 minute plus title track. It's actually quite amazing there isn't any electric guitar, though the bass and drum work is just phenomenal here, and propels the music to an incredible intensity. The first 10 minutes the aforementioned title song is jaw dropping in its composition, execution, and intensity. That sequence is hard to beat on any album, anywhere.
LP: 1977 private
CD: 1990 Decoder
Note that the original (first scan) has a lighter cover than the reissue. This album has frustratingly not been available for many years. I was fortunate to pick up the CD when it first came out. I wasn't familiar with the group at the time, but Greg Walker at Syn-Phonic convinced me I would not regret the purchase. And as is usually the case, he was right. Later on, I bought the original LP on ebay to shore up the collection.
Sireena of Germany had announced its intention to reissue the first album late in 2009, as reported on our CD Reissue Wish List site. But they backed away from that, and no other followup announcements have been made. If it does indeed come to fruition, then it would stand to reason Movin' On will finally become available again. This album has been booted more times than a juvenile delinquent at a nun's ass kicking contest.
1975's Le Berceau de Cristal (not released until 1994) is a soundtrack to a French film, which displays the logical development between the Ash Ra Tempel and Ashra albums. Manuel Gottsching lined up with friend, and former Agitation Free guitarist, Lutz Ulbricht to continue his exploration of cyclical guitar sounds and electronics. It's truly a successor to Inventions for Electric Guitar, with sound on sound electric guitar at its core, with some sequencers, Farfisa, and other synthesizers added on top.
CD: 1994 Spalax (France)
It's been said this is the first electronic album performed entirely on electric guitar. And while Achim Reichel employed a similar tactic, his albums were group efforts. Gunther Schickert, another follower of this technique, also first released his landmark Samtvogel in 1974.
LP: 1974 Kosmische Musik
CD: 2004 Arcangelo (Japan)
Originals are housed in a single sleeved cover. My first LP copy came in the mid 1980s, at The Record Gallery in Dallas, on the Pop Import imprint. Over time I've bought and sold various editions including the original LP and the Japanese mini-LP as part of a box set that includes Ash Ra Tempel's first 2 albums as well.
The first two tracks are instrumental jazz + rock with squonking sax, a driving rhythm, and a general sense of abandon. I'm reminded most of Duello Madre at this point. The remainder of the album is more geared towards the early Osanna sound (L'Uomo in particular) with wailing flute, crunchy organ, loud guitars, and super vocals in Italian. 'Dimmi Padre' is definitely the highlight, a composition that could have been lifted right off of Raccomandata Ricevuta Ritorno's excellent album. It's the classic Italian progressive rock sound, and done so well here. Highly recommended album.
CD: 2002 Akarma (w/Paride e gli Stereoquattro - Naufrago in città)
A super rare album in original form, where LP's can run well into the thousands of dollars. Each is hand painted (see top copy), and it is said only 200 were produced. Based on my own observation over 30 years of collecting, this would seem to hold true. The Akarma CD (second scan) comes in a thick tri-fold "Karma-Pak" with liner notes in Italian. The CD is a vinyl transfer.
Turkis is Aera's 3rd album, where the band veers into funky fusion territory, similar to other German bands of the era like Kraan and Release Music Orchestra. Fuzz bass, organ, and extra percussion keep it a bit interesting anyway. Not the highlight of their catalog for certain. Best track is the 3 part suite 'Dracula' which mixes haunting organ with a late 70s midnight spacey vibe. Title track is pretty good as well. Watch out for tracks like 'You Need Some Speed' and 'Siebert' that are a bit generic in that Sanford & Son theme sort of way...
LP: 1972 United Artists
CD: 1999 Disconforme (Andorra)
Rhesus O are most notable for featuring future Magma bassists Francis Moze and Bernard Paganotti. Most of the compositions open with a tight structure, and a strong melodic quotient (which is where the Canterbury comparisons come from), while featuring loose jazz solo segments in the middle. The longer the track, the more noisy the jazz segments become. I prefer the shorter pieces under 5 minutes myself.
CD: 1996 Musea
This is a fantastic Swedish psychedelic progressive album, continuing on from the awesome debut. While the first album had more of a jamming like outlook, their second album focused more on compositions. At its best, like on 'Grismakt', we hear Flasket Brinner mixing in Swedish folk melodies, while building on an instrumental intensity. The pyrotechnic psychedelic jamming found here is some of the finest ever committed to tape. Other classic tracks include 'Klotet', 'Bennys Hammare', 'Jatten Feeling', 'Batum', 'Bosses Lat', 'Tysta Finskan', and 'Orspranget'. There are a couple of throwaway tracks like 'Anderssons Groove' which is a typical early 70s rock n roller completely at odds with the other material.
CD: 2002 Universal / Mellotronen
The original is a double LP, but the CD is a single. To accomplish this feat, the band dropped two tracks. One a very short incidental piece from the studio album. The other is the awful 'Wild Thing' cover, by far the worst thing on the original live side - and a blessing it's been left off. The CD features a great sound, and a nice tri-fold digi-pak.
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