Errata Corrige - Siegfried, il Drago e Altre Storie. 1976 Italy

For those coming at Errata Corrige with the expectation that this will be another Italian wild ride along the likes of Museo Rosenbach and Semiramis, they will most certainly be sorely disappointed. But patience and a strong appreciation of excellent songwriting, will ultimately convert the most discerning of listeners. Acoustic guitar, flute, and wonderful vocals in Italian define this fine work. There is definitely a rock component (including electric guitars and synthesizers), as well as a clear jazz school influence that pervades. Some of the melodies will raise the hair on your arms. To me, this is one of those feel of Italy albums, and once you're hooked on that drug, there's no going back. And Errata Corrige will provide that fix we all need.

Personal collection
CD: 1989 Vinyl Magic

Errata Corrige's album is very scarce as an original since private presses from Italy were still unheard of in 1976, and this is one of the first along with Apoteosi.  The Vinyl Magic CD, which was my introduction to the album, is basic but the quality of the sound is high. The 2002 version is distinguished by the changing of the cover color from blue to pink and a bar code on the back. No LP reissues to date, which is a bit of a surprise I think. (Ask and he shall receive.... see comments!)

Moving Gelatine Plates - s/t. 1970-1979 France (archival)

I had secretly hoped that Moving Gelatine Plates would have archival material sitting in the vaults somewhere. And now we have proof that such a thing exists. Side 1 features recordings from a concert in 1972. 'The World of Genius Hans', 'Astromonster', and 'London Cab' are presented here with fascinating alternate versions of the originals - not surprising given the jazzy disposition of the band in general. This particular concert is after the 1971 studio recording of Genius Hans and features new drummer Alain Clarel. Naturally enough 'London Cab' is the most different of the three, since it's from the debut album. Side 2 contains material from two different settings in 1978 and 1979, when they were officially known as Moving. The first track is called 'Galantine', which is wordplay for 'Gelatine', and it is indeed an excellent rendition of the debut album composition. The shorter 'Syntheme' follows, and is one of the better tracks from their 1981 album. Though in rawer form, which is more pleasant to my ears anyway. Both of these tracks were from a 1978 concert. The 13+ minute 'Like a Flower' is a 1979 home recording of an older track going back to 1970, but never recorded in studio form until the reformation "Removing" album (2006). All 6 tracks are of "bootleg standard" quality. There is quite a bit of loss in these tapes - but the music is definitely recognizable, and at times, revelatory. And certainly enjoyable.

In addition to the album proper, there is a 1970 single that is known to be their first ever recordings. And it is an entirely frustrating experience. The first side is 'London Cab' - an excellent 6+ minute rendition and perhaps the highlight of the entire album. And it's in 33 RPM, which I figured they did on purpose knowing us folks with real turntables have to physically alter the mechanics (no easy switch, that is to say) to obtain 45 RPM. But alas, side 2's 'X25' is indeed just that: 45 RPM. And at only 2 minutes, it takes longer to move things around than it does to hear it. Honestly, I wouldn't bother as it's not much different than the original anyway. To complicate matters, the liner notes have these tracks confused with each other. I assure you, the longer track is 'London Cab' (though not labeled on the disc itself).

Personally, I think all 8 of these tracks would have been better served as CD (or LP) bonus material to the original albums, but Monster Melodies is to be commended for giving the buyer good value for their money considering the entire package.

You can read more about this release (in French) here

Personal collection
LP: 2014 Monster Melodies

What you see in the photo is what you can expect to receive on this fine archival release from one of Paris' more famous record stores (and one I've personally been to): Monster Melodies. It's an expensive package, but for diehard fans like me, it would have to be considered an essential purchase (if you still have a turntable that is). So what do you get for your money? The cover is a thick glossy gatefold, and the inside is filled with vintage newspaper articles (all in French). The back of the cover has detailed liner notes of the recordings in English. The vinyl is heavy duty, and pressed in appropriate Genius Hans Pink (perhaps Sherwin-Williams should offer this?). The inserts include an informative band family tree from 1966 to the present, with biographical information (again all in French) on the other side on thick textured paper. As well, a band logo post card with an archival photo is included. As you can see, there is also a single disc that contains their original first recordings. Overall a superb document.

R.I.P. Edgar Froese

Today we learned of the passing of Edgar Froese. This is a sudden occurrence and comes as a shock to us all. I don't think there is another artist I could credit more to my personal growth in music than Mr. Froese.

Ashra - Blackouts. 1977 Germany


On Blackouts, Manuel Gottsching returned to the guitar once more to release his masterwork of the Virgin era. His blend of soulful electric guitar with whooshing synthesizers and sequencers has never been matched to this day. The set of tracks 'Midnight on Mars', 'Don't Trust the Kids', and 'Blackouts' is simply astounding, and Manuel's guitar playing here is hotter than anywhere since the early Ash Ra Tempel days. The title track is absolutely on fire by the end of the piece. 'Shuttle Cock' possesses the sound on sound guitar of Inventions For Electric Guitar. The original LP states that Gottsching plays "Sequencer, Keyboards, and a lot of guitar" and he thanks Udo Arndt for the "lonely guitar sound". As well as "This record should be heard comfortably". I cannot for the life of me understand the criticism this album gets. I've had this on LP for over 30 years, and there is an amazing vibe here that I never tire of. I've spent many hours closing my eyes and listening intently to it visualizing the imaginary movie it projects. A brilliant masterwork for my tastes.

Personal collection
LP: 1978 Virgin (Netherlands)
CD: 1992 Virgin (UK)

Like most of the Ashra catalog, I bought my first copy at The Record Gallery in 1985. It was a really cool store in a hip part of Dallas near downtown that had tons of European imports (primarily electronic focused) and doubled as an art gallery. I learned about 100's of albums from that store - as well as spending my entire 1985/86 summer-from-college employment paychecks there (or so it seemed). It appears the French copy did get to market first in 1977 and has a slightly different cover (top photo). The second photo is the more common cover and the one you're most likely to run into. Originals can easily be found for the same price I paid in 1985 for a new one (if not less). As for CDs, the Virgin copy is a straight up reissue, but sounds great. The CD had become difficult to source - and expensive - until Gottsching himself put the CD out on his own label.

Ave Rock - s/t. 1974 Argentina

Understanding the poor sound quality, as mentioned below, plays a major role in one's appreciation of Ave Rock's debut. My opinion has flip-flopped over the years, and I'm now of the mindset that this is a very fine progressive rock album. As with many records from Argentina, the style of music recalls the 1970s Italian scene, which makes sense given their ancestry. Imagine heavy organ rock like Uriah Heep and Deep Purple that is suddenly tipped on its head with all sorts of crazy rhythms, counterpoint, melodic dissonance, and general madness. Bands like Triade, Alphataurus, and L'Uovo di Colombo all come to mind here. And with the good comes the bad, which includes the whiny singer-songwriter bits and the straight up rock and roll segments. But that's the music of the early 70s Italian era - and the music here on Ave Rock's debut. I highly recommend you listen to this with headphones, and focus intently through the grime of the original recording. Casual listening will leave a negative impression.

Personal collection
CD: 1997 PRW (Brazil)

Originals are housed in a gatefold and are very scarce to find. As with many Argentine records, the only likely place to find one is in the country itself. Thus making a purchase of one an expensive and risky endeavor unless you are certain it's a reputable dealer that you can trust. Unfortunately very few albums from Argentina were imported to the US and Europe during the 70s. So this isn't something that will turn up by accident in a healthy day of crate digging. I bought the first CD when it arrived in '97. PRW was one of the three great Brazilian progressive rock specialist labels of the 90s (the other two being Record Runner and Rock Symphony). Best I can tell, the label didn't make it out of the decade. The CD itself is of a good quality, typical of the PRW label, with photos, lyrics, and a nice layout. However the sound is not good at all. It's taken from a noisy LP - and if I had to guess - it probably was a mint copy too. I've never owned the original but I have to suspect, based on personal experience, that it doesn't sound very good. And this tells us the masters are probably long lost.  As for LP reissues, I did own one on the Marcoumar label for many years. The packaging was very well done, but of course the sound was no better (sourced from the CD I'm sure). And then I found out it was a pirate edition and ditched it to auction a few years ago. 

Love Cry Want - s/t. 1972 USA (archival)

For those who aren't familiar with this album - it is the singular most dirty and nasty early 70s jazz rock album ever released. Larry Young, who went on to record the magnificent Lawrence of Newark, was at the peak of his creative powers by this time, coming off a successful stint with Tony Williams' Emergency. The album is steeped in the jazz tradition, so no doubt there's plenty of loose improv parts, but when they catch a groove in the Miles Davis manner, there is nothing better than this. There's fuzz guitar, fuzz organ, fuzz bass, fuzz drums, fuzz percussion, fuzz in the sky, and fuzz on the floor. If you're familiar with the band The Fourth Way and their album Werwolf, take that as a base, and amp it up 100 times. I've read comparisons of Love Cry Want to Wolfgang Dauner's Et Cetera and Exmagma - and I think that's a very perceptive observation.

liner notes on the CD: "June 1972. The times were filled with darkness and turmoil. This music, of loving, of crying, of wanting, makes a powerful statement. It is awash with the anguish of the times, yet it heralds the promise of better days to come.

Love Cry Want was a legendary jazz fusion group based in Washington D.C., and led by guitarist, Nicholas. This recording took place during a series of concerts in Washington, held across from the White House in Lafayette Park, and featured the late, great jazz organist Larry Young, who had just recorded the historic “Bitches Brew” LP with Miles Davis and had left the Tony Williams Lifetime and guitarist John McLaughlin to combine forces with Nicholas and drummer, Joe Gallivan.

This second incarnation of Love Cry Want featured the triumvirate of Nicholas, Gallivan, and Young performing some of the most important music in the history of jazz. No record company would release this music, which was ahead of it's time.

Nicholas, who pioneered the development of the first guitar synthesizer (in association with Electronic Music Laboratories) performs on the first prototype guitar 'synth' along with fellow musician, Joe Gallivan, who pioneered the development of the drum synthesizer with inventor, Robert Moog.

June 1972, Lafayette Park.

Richard Nixon was President. There was a nasty war going on in Vietnam, good people were rioting in the streets and cities were aflame. During this series of concerts outside the White House, President Nixon ordered aide, J.R. Haldeman, to pull the plug on the concert fearing that this strange music would “levitate the White House.” This is that music.

Personnel:
Nicholas: prototype guitar synthesizer, ring modulator, wind, rain, thunder, lightning, water, hi-tension wires and wailing dervish 
Joe Gallivan: drums, steel guitar, moog synthesizer, and percussion 
Jimmy Molneiri: drums and percussion 
Larry Young: Hammond organ."

Personal collection
CD: 1997 newjazz.com

I remember seeing the entry of this CD for the first time in a late 90s Wayside printed catalog (the annual green one). I'd never heard about it anywhere - in any magazine or on the internet. But with Larry Young's name on it, and the promise of it being heavy jazz rock, and an attractive low price, how could I go wrong? I remember informing many people about this album back in the 1998-1999 time frame. It's a nicely done CD with great sound, and some liner notes, which I found online and will reprint below. Joe Gallivan is one of the members of this trio, and newjazz.com is his label. I was just revisiting this title the other day, and thought to myself, if I ever started an LP label this would be a great title to reissue on LP. Apparently I wasn't the only one - and I found that Weird Forest had done just that in 2010! I never knew that. As you can see, it is a 2 LP set, and they changed the front cover to something more minimalistic. The inner picture of the White House is significant when you read the liner notes above. I somehow doubt the story myself (it's a bit of "Loch Ness Monster sighting" if you ask me and plays on the Watergate theme) but who cares about the facts? It's a great little tale anyway!

Cressida - s/t + Asylum. 1970-1971 England





The main thing to consider when listening to the debut by Cressida, is that they were all about the song. In essence, it's short form sophisticated pop music. But given the era's wonderful analog instrumentation, and the underlying culture of psychedelia, the band were able to pack a lot of ideas into the confined structure. All the while displaying some incredible tonality (the guitar sound is divine). Certainly a band like The Moody Blues played a role in their development. As did early King Crimson. One could compare Cressida to Czar, and not be too far off the mark. Asylum, naturally enough, took things to the next level. I think for folks looking for more traditional progressive rock that would be in their listening comfort zone, Asylum is the more naturally likeable album. Here, Cressida seem to be consciously aware that they are a progressive rock band and have provided longer and more dense compositions. The good news is they never lost sight of the song.  And blessed with a dynamic singer, Cressida by all rights should have been one of the big names from the English scene. It wasn't meant to be, and for many years were only known to the LP collector world. But they have been discovered again, and have now rightly been considered one of the great bands of their era.

Personal collection
CD (Asylum): 2001 Vertigo (Japan)
Box (Asylum) 2001 Disk Union (Japan)
CD (Cressida): 2007 Vertigo (Japan)
CD (both): 2009 BGO

There are few more collectible items on the venerated Vertigo label than the two Cressida albums. UK gatefold originals are frequent top bid items on ebay. Obviously you will save tons of money if you spot a non UK version. Though the first album is very rare as an original, Asylum is off the charts. The latter was an archival release even in its day, and suffered from no promotion and little sales. You'll need a loan to get either. The first CDs were the always reliable Repertoire. Over time they fell out of print, and some iffy issues started to surface. There were of course the expensive Japanese mini's for collectors like myself (and I won one of each), but not ideal for general consumption. Gott Discs (3rd photo) put the issue to bed with the first of the 2 CD sets that would reissue the band in full and tell their story. It would appear the Esoteric version (5th scan) would be the best to own as there are demo and live tracks in addition to the full two albums. I picked up the BGO set (4th photo) since I was able to source one recently for less than the price of a Diet Coke, and it's a superb reissue. This allows me to showcase the Japanese mini's without opening. My first copy of Asylum was the cheapest of bootleg LPs (bought along with Spring circa 1988, that I have detailed earlier), and because of the poor transfer, it had turned me off of the album altogether at the time. Remember - never buy boots for that reason alone (not to mention the ethics of it all). In addition to the mini-LP's I also recently sourced (in 2017) the box set that features Asylum as the cover, and fits multiple CD's from the 2001 series. Oddly enough, the first Cressida is not part of this set, and was issued separately. I put mine in there anyway, since there was room for one more...

Secret Oyster - s/t. 1973 Denmark


Secret Oyster were one of the more well known European fusion groups back in the day, as their albums sold quite well back home, as well as benefiting from good distribution around the world, especially in the US. In fact they were one of the first European fusion groups I’d heard, having stumbled upon Furtive Pearl (the US release on Peters International) as far back as the mid 1980's. Founded by members from Burnin' Red Ivanhoe, Secret Oyster subsequently added psychedelic guitarist Claus Bohling from Hurdy Gurdy and jazz pianist Kenneth Knudsen from Coronarias Dans to form one very hot quintet. Their 4 albums, released between 1973 to 1976, are all remarkably similar, but never repetitive or lacking inspiration. The debut mixed in more avant-garde jazz styled noodling, and this is where the Coronarias Dans influence comes in. But the album also features some of their more unhinged rock moments, as Bohling really lets loose on the electric guitar (witness his literally stinging solos on 'Fire & Water' and 'Public Oyster'). The only minor gripe I have with the band, is that Karsten Vogel's primary wind of choice was the soprano saxophone, a variety of the instrument I don't personally enjoy as much as the tenor or alto. All the same, a superb debut by a band clearly on the rise.

Personal collection
CD: 2007 Laser's Edge (USA)

Originals come in a single sleeve and feature a rendition of an historical postcard of the fishing port of Nibe, in Jutland where the band recorded the album. Furtive Pearl is the US release, and maintains the 100% American standard that the cover must be worse than the original. Naturally this was my introduction to the album, having found a copy at a record swap in the mid 80s. Secret Oyster became almost legendary in "reissue circles" (does such a circle exist? you ask...) as the progressive rock act that was most neglected. In fact, when label owner Ken polled a chat board in 2006/7 on which band he was going to reissue that had "multiple albums", I guessed immediately Secret Oyster. As expected, it's an excellent reissue with liner notes from band leader Karsten Vogel, and includes two excellent live tracks.

Crium Delirium - Power to the Carottes. 1972-1975 France (archival)

Crium Delirium were a French band that performed a loose jamming psychedelic music with a jazz touch. Saxophone and flute play an equal role to the guitars and keyboards. The primary group is a sextet, and the compositions are relatively well thought out for a band of this style. As with any archival release, you will hear a myriad of genres and the sound quality will vary greatly (especially given that these are live recordings). In general, you will most likely be reminded of 1972 era Soft Machine, instrumental Gong, and early Clearlight. Probably the band that Crium Delirium most reminds me of is Ame Son. A fine historical document.

Personal collection
CD: 1994 Legend Music

A very fine archival CD from Legend Music, who released a few great things in the early to mid 90s, and then disappeared. The CD comes with a thick booklet filled with all sorts of details, photos, and lyrics. Unfortunately it appears the more lucid and historical notes are in French. There is a page in English, but it's a stream of consciousness tale of vagabonds and communal life. Interesting but not informative. But then again it doesn't take much to figure out these guys were a bunch of creative freaks with a psychedelic music streak. Another unfortunate aspect is that the individual songs are not dated or their live location placed. The CD today is very hard to find. I bought one when it came out, and regrettably moved it out too soon. But I recently sourced one for the collection on the cheap. So I'd just advise if you are in the market for one, patience may pay off. Demand appears to be low. I suspect that's because few even know what it is! Well I guess I'm screwing that part up, now aren't I?

Opus-5 - Serieux ou Pas. 1977 Canada (archival)

Recorded in 1977 but abandoned after their label Celebration (most famous for Harmonium) went belly-up. The 1989 CD is the one and only legal document of those recordings. This isn't the typical half-baked archival release where major portions were still missing from the final product. In fact, I'd say the oven was turned off only about 10 minutes too soon. You can tell they have many great ideas working here, and the depth of the musicianship and compositions are at the same high level as Contre-Courant. And the quality of the recording is superb. It seems they still needed time to finish arranging, compiling, and scrubbing the edges off. It's really a pity they couldn't finish what they started, as this may very well have been the second greatest album to ever come from Canada. Behind only their first album... Even still, an essential album for progressive rock fans.

Personal collection
CD: 1989 Aller-Retour

The one and only legitimate release of this album is the 1989 CD from Aller Retour. As with Contre-Courant, the album was heavily distributed in Japan by Marquee, and you will often see copies with obi strips like the photo above. And as with its predecessor, the CD couldn't be more basic and bland from a presentation / notes perspective.

Moses - Changes. 1971 Denmark

A good friend of mine told me once that this is the single worst album of all time. So I just had to hear it. But I didn’t actually expect to like it... and I do! Changes is basically an electric blues rock album not terribly far musically from the debut by Black Sabbath or Blue Cheer. Perhaps a bit more energetic, but not quite as heavy. They aren't as noisy and unfocused as Blue Cheer nor do they expand the compositions as Sabbath would. Moses are a stripped down guitar-bass-drums trio, with a vocalist who clearly enjoys his Carlsberg beer. Despite being Danish, they chose to sing in English, so it doesn’t have any local flavor unfortunately (excepting one track). Where they score points with me is the fuzz guitar soloing. What a great sound the guitarist managed to get out of his 6 string. The solos are competent if not exceedingly original. Overall, a good one for the blues rock style.

Personal collection
CD: 2009 Shadoks (Germany)

Yet another extreme rarity as an original. This is one you never see even in auction, so if you are well-heeled enough to be in a position to pay a fortune for it, you'll be out of luck. Spectator was a low budget label from remote northern Denmark, and the quality of the originals aren't particularly well made. But given their true scarcity, they have been collectors items for as long as I have been at this hobby anyway.  I didn't hear the album myself until 2006, when I was sent a CD-R, and subsequently added it to the CDRWL. Changes was forever solely the domain of pirates, until Shadoks finally put a legit version on the shelf in both CD and LP form. The CD is well presented with nice liner notes giving the history of the band, lyrics, and some photos. There are no bonus tracks which tells us there probably isn't any to give. These reissues should fulfill the demand for this album.

Finch - Glory of the Inner Force. 1975 Netherlands


Hyper kinetic instrumental progressive rock, or what we used to call symphonic fusion. I've owned this album for over 30 years, and I never tire of it. One criticism I've constantly heard about Finch is that they're more about chops than composition, and yet I hear it completely different. Despite the fast paced nature of the recordings, and the many twist and turns that goes on throughout each track, there is also a strong melodic component as well - very similar to Focus regarding this latter characteristic. I personally think "Glory of the Inner Force" is one of those great "starter" albums to new fans of the genre. It's immediately likeable - and rocks hard. At this point in my life, "Glory of the Inner Force" will likely always be a Top 50 album for me.

Personal collection
LP: 1975 Negram
LP: 1975 Atco (USA)
CD: 1994 Belle Antique (Japan)

Both original versions are single sleeve. The Atco release is one of the very first European "obscurities" I had discovered in the early 80s while still a teenager. This was back at a time when I bought albums strictly on how they looked, and how long the songs were. I had become pretty adept at it by this point, and Finch was an obvious target once I saw it. Besides they had a drummer named Beer! Hey, this was long before the internet, and research materials were non-existent back then. Crate digger veterans will know what I mean here! For years, I had wanted a copy of the Dutch original, which I think is the nicer cover. In the catalog days of the late 80s and 90s, this was a fairly expensive item. But when the great market equalizer ebay came along, it turned out there was plenty of supply. I bought one cheap as soon as possible (1999) and even today you can find one at a very reasonable price. The American version is very common. However finding one without a massive promo sticker and sawcuts is much more challenging. But I did recently find a clean one for the collection - and they are readily available as well, but for a few dollars more. I bought the CD as soon as it became available and ditched my sawcut/sticker Atco copy :-). The Japanese version is a Gold disc, and has liners in Japanese. It does however feature the Colossus single. Naturally enough, both the Dutch and Japanese versions fell OOP, and pirates had begun to enter the waters. Pseudonym remedied that problem by recently issuing a 3 CD set that has just about everything Finch ever released, including most of The Making of Galleons of Passion. I'll talk more about this latter CD when I feature it, but for purposes of Glory of the Inner Force, the entire CD is on Mythology including the Colossus single (which is a great composition BTW).

Opus-5 - Contre-Courant. 1976 Canada


Opus-5 asks us: "Is it abnormal to speak French?". Which would be the only English lyric on the entire album. That should give you some insight into this band's makeup. Perhaps I should just state this: "Contre-Courant" is my favorite album from Quebec. Actually, all of Canada. By far. Imagine the best groups from Quebec like Harmonium, Maneige, Aquarelle, Sloche, Contraction, etc... as played by the Swiss band Circus on the 'Movin' On' suite, with perhaps a touch of Picchio dal Pozzo's first album thrown into the blender. Flute, piano, bass, keys, guitar, French vocals, and insane drumming are the base ingredients. Nothing sits still for more than 5 seconds, and there are dozens of ideas going on at any one time. And yet it remains incredibly melodic throughout. There are no loose improvisations, or experimental noise bits to wait out. The whole album is composed to the last note, and yet it is kinetic, exciting, and exhilarating throughout! 'Il Était Magicien' is the album's best track, but there's isn't a weak moment to be found here. A true masterpiece, and one of my all time favorite albums.

Personal collection
LP: 1976 Celebration
CD: 1989 Aller Retour

My introduction to the album was the first CD (second scan, from my collection and added to Discogs), which is about as basic a package as you will ever see. A single tray insert with no data. You'll also see this version occasionally with an obi strip as it was distributed in Japan back then as well. I believe this CD had become difficult to source (I bought mine in 1990 not long after it was released), so the Unidisc version will be the one that is easily found today. I think their slight redesign of the cover is more attractive as well (third scan). Unless someone comes along with a much better CD, I'll stick with the Aller Retour for now. I picked up the original LP not long after obtaining the CD.

Shotgun - Dallasian Rock. 1974-1976 USA (archival)

This one's a bit out of range for the usual UMR fare, but since I grew up in the city of Dallas, I have a fondness for items like this.

Straight up good times hard rock and roll from local Dallas area band. Guitar based rock for the Wet T-shirt Night crowd. Nothing artsy here - just a band that gave you an honest dollar's worth of original rockin' tunes to go with your 50 cent draft of Lone Star or Pearl (Shiner? How 80s). I cut my teeth on KZEW as a pre-teen, and this is the kind of music they'd play often after bedtime. That I captured on my Radio Shack transistor under my pillow (shhh! - don't tell Mom).

And 22 tracks here of rockin' fun. Yes... of course... there's cowbell. Good times indeed.

Personal collection
CD: 2014 Shroom Angel

Digipak CD release that contains 22 tracks, never released before. The main section of the CD is dedicated to studio and live recordings from 1976, with some demos dating back to 1974. There are no recordings from 1975 oddly enough. Great archival release, as is typical of Shroom, with historical notes, and a montage of photos. The LP is a gatefold, and contains the first 11 tracks of the CD (all 1976).

Full Moon - s/t. 1980 USA



Another great band from Central Pennsylvania. Located in between the state capital and Hershey, Full  Moon perfectly embodies the independently minded blue collar industrial worker mindset from the time and place. Bring your bowling ball and a 6 pack of Yuengling. The music could best be described as intelligent hard rock. While every track may be somewhat basic regarding the framework, each comes with some incredible harmonic lead guitar solos and bridges. Not surprisingly, the longer tracks add a few more ideas and complexities into the mix - especially 'Winter City'. Any fan of late 70s American hard rock, or the earliest foundations of 80s era metal will enjoy this one immensely. Be sure to get the CD reissue which includes 5 relevant and excellent bonus tracks.

Personal collection
CD: 2000 Monster (as State of the Artist)

Classic single sleeve American private press, where almost every copy has ring wear. There was a time that when you traveled throughout the US, albums like this would be found in every town's local record store. Years ago, collectors snapped these up - and every once in awhile an original will go up for auction, but not for cheap. The 1996 LP reissue by Monster is straight up, though they decided to use the band logo as the primary cover (second photo). On the CD, they switched gears and went primarily with the main cover, though retitled from one of the bonus tracks. Speaking of which, there are 5, of which 3 are fantastic. There's also some nice liner notes. In researching this entry, I found the CD harder to find than the LP reissue. In fact it's pretty much extinct, excepting a couple of very high priced ones. So if you know where one is for a reasonable price, I suggest you grab it quick. For whatever reason, Rockadrome has not reissued this title as they have for most of the former Monster catalog. I bought my copy in 2004 when it was still readily available, and it was my introduction to the album.

Truth and Janey - Live 4/8/76. 1976 USA (archival)

Erupts! is a great hard rock concert from 1976 (April 8th, Davenport, Iowa), and features many non-LP tracks as would otherwise be found on No Rest for the Wicked. The sonics aren't perfect, but more than acceptable for the time and place. Billy Lee Janey could jam with the best of 'em!

Personal collection
LP: 2014 Rockadrome / Lion (as Erupts!)

I first remember seeing this double LP set in a Cedar Rapids, Iowa record store while passing through in May of 1989. White cover with the date written across it if I recall right (actual handwriting too, not printed - and not the cover at the top either). Didn't buy it, but was more than curious, since I was familiar with the album proper by them. It was expensive from this particular record store - more than I was willing to pay on an unknown hard rock record - a style that's always been a bit tangential to my personal wheelhouse. Years later I sort of regretted leaving it there. Fortunately for me, some 25 years after the fact, Rockadrome, along with Lion, have reissued it again in its double LP glory, complete with poster. My understanding is the CD issues cut some of the tracks off to fit on one disc. What you see in the second photo is what I bought, excepting mine is pressed on traditional black wax.

Michael Hoenig - Departure from the Northern Wasteland. 1978 Germany

Michael Hoenig's only 70's solo venture turned out to be one of the finest of the Berlin School albums from the time, comparable to similar era works from both Tangerine Dream and Klaus Schulze. This was not by accident. Hoenig himself is part of Berlin underground royalty having been a key figure of the pioneering Agitation Free from the early 70s. This was followed by a fine collaboration with Manuel Gottsching (not released until the 90s), and then a brief few months stint as Peter Baumann's replacement in Tangerine Dream. His education with these masters was not lost, and here he provides some fine sequencing, unique tape manipulations (something he patented with his field recordings with Agitation Free), melodic keyboard soloing, and guest guitars. The latter provided by former band mate Lutz Ulbrich. Also guesting is vocalist Micky Duwe from Metropolis, but perhaps best known for participating in the "Seven Up" sessions with Timothy Leary and Ash Ra Tempel. Some enlightened record executive at Warner Brothers had the wherewithal to release this in the United States (perhaps due to his impending relocation as a Hollywood soundtrack maker), where it unfortunately, no doubt, became a buck bin special within weeks. That said, it ultimately lead to Hoenig's album being heard by far more people than would normally be the case for an obscure elektronik artist from Germany. And is now considered a classic for the style. A designation it deserves.

Personal collection
CD: 1987 Kuckuk

Originals are very common in the USA. In the early 80s, as a teenager just starting to collect obscurities, this was a title I ran into often, and I bought one for $1. Even today, you'll find sawcut used VG copies in stores for $1 if you look hard enough. Only the Japanese LP's have any value at all. Interestingly enough, the CD is the collectible item in this case, having only been reissued in Germany, and that was 27 years ago! Despite this scenario, apparently the CD is still easy to find as a few readers pointed out to me. This was one of the very first albums I replaced an LP with a CD, and that looks to have been the right move. The second photo is the slightly redesigned Kuckuk reissue used for both the LP and CD.

Sensations' Fix - Portable Madness. 1974 Italy

And here we have... the single greatest space rock album of all time! No small claim that. Not an irreverent throw out to grab one's...