Unencumbered Music Reviews

Cherry Five - s/t. 1975 Italy

2012-01-29T08:18:00.004-06:00

Cherry Five - s/t. 1975 Cinevox.

CD Reissues: 1993 King (Japan); 1993 Vinyl Magic; 2007 Arcangelo (Japan mini-LP); 2010 Belle Antique (Japan mini-LP)

LP Reissues: 1986 Nexus (Japan); 2005 Amber Soundroom (Germany)

My first copy of this album was the Nexus LP, which I still own. I also bought the King CD as soon as it hit the market. And I recently bought the Belle Antique mini-LP version as well. Originals are off the charts expensive - and always have been.

Cherry Five are an anomaly for the Italian progressive rock scene, in that they sing in English and have a sound that is squarely from the big names of the scene like Yes, Genesis and Gentle Giant. In this way, they recall Mass Media Stars era Acqua Fragile, though Cherry Five are significantly more heavy and complex. Formed by the main two protagonists of Goblin with participation of drummer Carlo Bordini from Rusticelli & Bordini. So if you can blank your mind of images of Museo Rosenbach and Il Balletto di Bronzo, and pretend Cherry Five are from London, then this is quite a good mid 70s progressive rock album. All the vintage keyboard toys are on display and there's plenty of complex compositions to dive into. A really good album. Check out the below video.

Pollen - s/t. 1976 Canada

2012-01-28T09:18:00.004-06:00

Pollen - s/t. 1976 Kebec Disc

CD Reissues: 1994 Kozak; 2005 ProgQuebec; 2010 Belle Antique (Japan mini-LP)

I've owned the LP of this since about 1990 or so. Much was made back then of the "pot leaf" back cover, and that it had to be retracted and repressed with the band photo shot. And supposedly it was much rarer. Well, I've owned close to a dozen of these in the past and I think I've had 6 of each. FWIW, I kept the leaf cover for my collection, just in case... Kozak solved the CD issue quickly and I owned that version until recently when I upgraded to the Japanese mini. With a cover like that, it's worth having in that format. And the Belle Antique press is from the same mastering as the ProgQuebec edition (but minus English liner notes unfortunately). No LP reissues, though originals still aren't too expensive.

If you're not familiar with Pollen, then consider it a must own album if you're a fan of 70s progressive rock. It's a staple of the diet. Check out the video below.

Gäa - Auf der Bahn zum Uranus. 1974 Germany

2012-01-27T07:07:00.004-06:00

Gäa - Auf der Bahn zum Uranus. 1974 Kerston

CD Reissues: 1993 Ohrwaschl

LP Reissues: 1994 Ohrwaschl; 2011 Garden of Delights

My own history of owning this album is quite checkered. Originals have always been off the charts expensive, and with a cover and title like this, it quickly soared as a top want for me in the late 1980s. So I bought the CD reissue immediately upon release. But honestly I was very disappointed in the musical content at the time. Probably just a case of not meeting my heightened, and unrealistic, expectations. But how about that cover right? So I bought the Ohrwaschl LP off of ebay about 10 years later. Unfortunately the vinyl was slightly flawed. Eventually I sold off both the LP and the CD. And then, damn, Garden of Delights released it on LP. They always do a first class job, and I knew it would include an informative liner sheet as well. And the cover looks really good on the "music wall", so I bought it again. Currently I own just the reissue LP. While still not a favorite album, I have warmed up to it a bit.

Musically, Gäa can be described a spacey rock band that sings in German. It's not really cosmic Krautrock, nor is it full blown complex progressive rock. The first track 'Uranus' is by far the best, but is somewhat misleading considering the rest. In that way I was reminded of My Solid Ground. I see Gäa as the precursor to the late 70s German progressive movement such as Indigo, Minotaurus, Albatros and many others.

I've included the below track, as I think it sums up the contents nicely. If you like it, then I'm rather certain the album as a whole is worth owning for you. I'm not sure if the Ohrwaschl CD is easy to find or not. They're still around and sometimes they reprint their earlier editions. If you collect LPs, the GoD version is a must.

Lasting Weep - Le Spectacle de l'Albatros. 1976 Canada

2012-01-22T10:18:00.004-06:00

Lasting Weep - Le Spectacle de l'Albatros. 2007 ProgQuebec. Archival recordings from 1976.

Following on from yesterday's post, here is the second archival issue of Lasting Weep from the good folks at ProgQuebec. First composed in 1972, Le Spectacle de l'Albatros was set to be an epic piece for what would be their debut album. That never happened of course, but while Maneige was on hiatus, the key members of Lasting Weep assembled a 17 piece ensemble to be performed over the course of 3 nights in the early months of 1976. Fortunately these were recorded and preserved for antiquity.

Musically, Le Spectacle de l'Albatros is a much more ambitious work compared to the hard jazz rock of the "1969-1971" album. There are some loose avant garde moments to endure, but for the most part this is a very fine work as well. If pressed to pick one album, I'd go for the 1969-1971 album, but most of my peers prefer this one. CD features unique liner notes, photos and concert posters.

A good example of what the album sounds like can be found below.

Lasting Weep - 1969-1971. Canada

2012-01-21T15:34:00.007-06:00

Lasting Weep - 1969-1971. 2007 ProgQuebec.

A fantastic archival release from ProgQuebec. Lasting Weep, like Franck Dervieux's group, was the breeding ground for Quebec's underground scene for the next 10 years or so afterward. Lasting Weep were the precursor to most notably Maneige, but also featured members that went one to play in Conventum, Michel Madore, and L'Orchestre Sympathique.

The lion's share of the material is from 1969, and for the era this is an extraordinary recording, as it mirrors not only what was going on only in England at the time, but it predates a lot of the early 70s Krautrock movement. Flute and guitar driven hard jazz rock and blues is the preferred style here, and a fantastic example of such. Check out an excerpt from the the opening track below.

Excellent liner notes, unique photos and poster reprints round out this excellent document.

Cathedral - Stained Glass Stories. 1978 USA

2012-01-11T06:29:00.004-06:00

Cathedral - Stained Glass Stories. 1978 Delta.

CD reissues: 1990 Syn-Phonic; 2010 Belle Antique (Japan mini-LP)

LP reissue: 1989 Syn-Phonic.

My first copy to own was the LP reissue (with the poster cover) from Greg which I eventually exchanged for the CD. Currently I own the original LP and the Japan mini. The latter only adds in a couple of aesthetic goodies - and is the same source as Syn-Phonic's.

I first heard this album in 1988 from a friend / record dealer who had stumbled onto the original. For hardcore progressive rock heads like me, Cathedral was an astounding find. It was exciting to know that there may be dozens of unknown gems yet to be discovered. Those were exhilarating times if you were a record collector. In the meantime, Greg Walker had managed to find the band and was quick to get this one out to the open market. Even back then, both Greg and Rockadelic were trying to release a second unreleased album called "Epilogue". 22 years later and it still remains in the vaults as the band couldn't agree on terms. I have a copy on CD-R and it's fantastic. Really a shame that it's not out there for general consumption.

It's interesting for me to see how many folks today poo-poo this album and say it's overrated, hyped, plagiarist or whatever. Perhaps it was the background that my friends and I came from that made Cathedral's album seem so extraordinary. Nowadays progressive rock fans have access to thousands of albums at their finger tips, and perhaps it does blend in with similar artists - and so maybe that's why they can't understand old-timers like us who would rave about "Stained Glass Stories". I personally think it's a great example of the American underground take on progressive rock. They went all out and left nothing behind. It doesn't matter to me that it wasn't perfect from a compositional/playing standpoint. It's a highly ambitious work with great melodies interspersed throughout and therein lies the charm of it all.

I guess I'm glad to have discovered the album before I read it was "one of the greatest progressive rock albums ever." We didn't have any expectations back then. We just loved it.

Nine Days Wonder - s/t. 1971 Germany

2012-01-09T05:00:00.001-06:00

Nine Days Wonder - s/t. 1971 Bacillus. (multiple LP issues from 1971 with various covers)

CD reissue: 1993 Bacillus.

LP reissue: 2010 Long Hair.

I had written about this one already (10/2/2011), but wanted to move forward since I just picked up the reissue LP.

The CD is from the masters tape, but lacks any details such as bonus tracks, history, etc.. Very typical of a major label straight CD reissue from the early 90s. I'm very surprised this album hasn't been reissued again from a specialty label, with a bit more care and detail. However Long Hair did release one archival work on CD, which is very spotty - exactly as you would expect from a band as schizophrenic as NDW.

Long Hair's LP reissue is just like the original - in a foam coated gatefold cover. This version does come with a detailed bio sheet. It's an awesome product, and given that the original in this format is off the charts expensive (not to mention usually in awful shape), you might want to consider plunking down for this reissue (which I had to import straight from Germany since no one is carrying it here in the US). It's not cheap either.

The album covers shown above are as follows: 1) The original foam cover; 2) The German second press (and the French press is similar but with different lettering; 3) The CD reissue.

Was there a more radical album in 1971 than Nine Days Wonder's debut? Nothing stays in one place too long, some themes explored only in mere seconds, moving from idea to idea similar to how some Italian progressive rock albums did two years later in 1973. Electric guitar, sax and flute are the primary drivers, and the rhythm section is very inventive. Imagine fellow Germans Brainstorm circa "Smile Awhile", but rather than taking it through the Canterbury blender, it takes as its blueprint Frank Zappa at his most progressive. The humor component, and the heavier edge, also recalls early Grobschnitt, a band that most certainly was influenced by NDW. I could see a modern group like Polytoxicomane Philharmonie being heavily swayed by this album as well. From here, Nine Days Wonder changed personnel and decided to focus more on their glam rock / David Bowie side of their sound, and the quality dropped dramatically from here IMO.

Canarios - Ciclos. 1974 Spain

2012-01-08T06:59:00.004-06:00

Canarios - Ciclos. 1974 Ariola. 2 LP set.

CD reissues: 1992 Si-Wan (Korea); 1993 BMG; 2010 Sony (Japan mini-LP)

LP reissues: 1980 King (Japan); 1992 Si-Wan (Korea); 2010 Vinilísssimo

All the CDs are a straight reissue with no extras. As such, I recently picked up the Japanese mini-LP for the exact replica of the cool gatefold cover and the inserts. Prior to that I owned the Si-Wan CD. I also still have the King LP - but will probably move it along as well.

Canarios were a pop band prior to this album, and they could not have changed any more dramatically than on "Ciclos". The album features four LP side long overblown symphonic rock numbers, loosely based on Vivaldi's Four Seasons. It's a sincere effort, extremely well thought out and complex. For some, it probably represents a parody of the entire progressive rock genre. I think it's great. Check out side 3 below.

Excellent review by Jim Finnforest over at ProgArchives.

Haze - Hazecolor-Dia. 1971 Germany

2012-01-07T09:02:00.008-06:00

Haze - Hazecolor-Dia. 1971 Bacillus.

CD Reissue: 1997 Second Battle

LP Reissue: 2010 Long Hair

As a rule, I don't typically buy LP reissues and would rather just own the CD (or the original LP). But there are exceptions and these are based on a number of considerations. 1) It must have a cool cover - generally a gatefold, or that its heavily textured, or it features some sort of gimmick cover (known in the trade as gimmix). Very rarely will I consider buying a typical single sleeve record, unless it has a stunning painting or something of that nature. And 2) is the cost of the original record. For example, I'm not going to pay $40 for a reissue of an original I can get for $100. Now cost is entirely subjective, and it also boils down to personal budgets and finances. Everyone is going to have a different threshold based on their priorities. I'll gladly pay $600 for a few choice LPs. It's case by case.

And so the case with Haze, for me, is that it's the perfect choice for a reissue LP. The originals are prohibitively expensive, and the music content doesn't justify the high cost. And, as it turns out, it does feature a gimmix cover - a single sleeve but with a see-through plastic film die-cut and rounded corners.

I actually owned the original LP back in the 1980s. It was pure happenstance. I found it in a DFW area record store called The Crate, that had almost nothing else of interest (and is long, long out of business). I traded the album away a couple of years later to a catalog dealer. Like most originals for Hazecolor-dia, it wasn't in the best shape anyway (VG at best). But it would still fetch a huge sum today. And I received fair market value for the era - and almost all LPs were way cheaper back then. If I did still have it, I wouldn't sell it at this point.

Musically Haze are a fairly typical blues based hard rock band from Germany, not really progressive, but definitely fits the all-encompassing Krautrock tag. The addition of flute and organ help tremendously. The vocals are over the top loud and crazy - at points almost weird. Depending on my mood, that can add or detract points.

My only gripe about the LP reissue is the lack of liner notes. This is highly unusual for Long Hair who usually do a good job of documenting their releases. But then again, they never issued this title as a CD. I doubt the Second Battle CD has any info either (rarely does SB provide much data), but I don't own it to validate.

I'll probably pepper in some more LP reissues in the future for this blog.

The below clip is a good example of the album. This is track 1 of side 2.

Galliard - New Dawn. 1970 England

2011-12-13T05:00:00.005-06:00

Galliard - New Dawn. 1970 Deram.

CD reissue: 2009 Esoteric.

Usual great job from Esoteric with extensive liner notes and great sound. No bonus tracks though.

Strong brass rock entry from England, and compares favorably to other UK like-minded bands such as Brainchild, Heaven, Greatest Show on Earth, and Rock Workshop. Galliard adds folk and even a bit of sitar on Ask for Nothing (hear the YouTube selection below). Great songwriting and Galliard could have easily been a household name as a pop sensation.

"New Dawn" is their second album, and I was just about to add it to the CDRWL when I heard they planned on reissuing it. My favorite track is the instrumental Premonition, which sounds like Herb Alpert playing the music of Sugarloaf.

The Norman Haines Band - Den of Iniquity. 1971 England

2011-12-12T15:19:00.007-06:00

The Norman Haines Band - Den of Iniquity. 1971 EMI Parlophone.

CD reissues: 1994 Shoestring; 2011 Esoteric.

Classic Esoteric reissue that consists of informative liner notes with participation of Norman Haines himself. Also has 6 quality bonus tracks. The very obscure Shoestring CD is legit as well, while all other CDs of this album are pirates.

Post-Locomotive British rock from the accomplished keys player Norman Haines. Stylistically very diverse, and it takes awhile to get its sea legs. The title track and When I Come Down are the highlights of the first side. With side 2 we get a splendid near 10 minute jam (check out the embedded YouTube below), that truly catches a groove and allows for some excellent guitar soloing over the tranced out organ-led rhythms. Not lost is the longish electronic oriented piece with fuzz organ and electric piano that closes the album. The bonus tracks demonstrate that Haines' songwriting was to improve greatly, even if geared more towards an overt commercial direction with horns (Daffodil and Autumn Mobile were actually released in 1970). I was reminded of Dave Lawson's work with Web ("I Spider") and Samurai in particular. This album takes a couple of spins to comprehend, but it's post British psych at its best. File next to your Nicholas Greenwood "Cold Cuts" album.

Frob - s/t. 1976 Germany

2011-11-24T06:56:00.006-06:00

Frob - s/t. 1976 Musikladen.

CD reissue: 2004 Garden of Delights. (Liner notes, photos).

High energy jazz rock with fuzz guitar, organ, electric piano and Moog as the lead instruments. More energetic than Morpheus or Release Music Orchestra for example. A less funky Munju perhaps. Every track smokes, and there's quite a bit of variation in the jams. The guitar work is unreal and I think the raw production helps. Great atmospheric organ too. There are no weak tracks, nor is there anything that particularly stands out. It's remarkably consistent.

Vos Voisins - s/t. 1971 Canada

2011-11-13T06:26:00.009-06:00

Vos Voisins - s/t (aka Holocauste à Montréal). 1971 Polydor.

CD reissue: 2011 ProgQuebec.

CD features two bonus tracks, liner notes, photos. Usual great job from ProgQuebec. Also contains both albums covers.

Really good example of a heavy organ style blues based progressive rock. This seemed to be a somewhat popular breed of music in Quebec in the early 1970s, and can also be found in other fine groups like Champignons or Dionysos. Some wonderful fat guitar leads too. High quality French vocals as well. A couple of the tracks are piano lead introspective numbers. Best track is 'Le Monstre de la Main'. There are two album covers for this title. The original "wanted poster" rendition had to be pulled, due to Polydor not receiving permission from the Allo Police tabloid to use their logo. So they went with the other brick building cover. I've had both LPs in the past, and honestly I prefer the replacement cover (and that's what I currently own).

Toshiaki Yokota and Genshi Kyodotai - Primitive Community. 1971 Japan

2011-10-29T13:41:00.006-05:00

Toshiaki Yokota and Genshi Kyodotai - Primitive Community. 1971 Toshiba.

CD reissue: 2011 Think (Japan mini-LP).

It was only a year ago that this album was a complete unknown - only whispered about in quiet dark corners. I was fortunate enough to obtain a copy from my friend Heavyrock, and presented the first expose on the CDRWL. This was followed by more coverage - and less than a year later, we have a full blown reissue in the mini-LP format no less. Think is Disc Union's new jazz oriented label, and they really opened with a whopper! This reissue alone is validation enough for me that the CDRWL was well worth the time to do. The review below is what I wrote last year (with slight variations). Also please see my review of "Flute Adventure" first. It's worth reading, just to give some slight background on Yokota himself.

Well... here it is. An album only whispered by a few in the know. A Knights Templar secret for the ages. Yesterday, I spoke of Heavyrock's amazing collection. This isn't one he owns. He had to buy a CD-R transfer from a Japanese dealer who was keeping it closely guarded. And it wasn't cheap. And this from someone he buys a lot from! But since the original sells for a few thousand, what are you going to do? Don't believe me? Well consider that a below average condition copy of "Flute Adventure" recently went for $1600 - and that's commonplace compared to this.

Most prominent member is Yokota's constant electric guitar companion - Kimio Mizutani. Just the mere mention of Mizutani usually has heads like me scrambling for a listen. There's also a track listing... and it's all originals save one cover - a Beatles instrumental called 'Flying' from their Magical Mystery Tour album. The Beatles, of course, were not known for their instrumentals. A full dissertation on this song can be found here. It's important to note that there are almost no covers, as Yokota had a few pay-the-bills albums like "Exciting Flute" and "Young Young Flute" that are nothing but jazz flute renditions of Bacharach, Simon and Garfunkel, Blood Sweat & Tears, ad nauseum.

So now it's time to pull back the curtain, and display the contents....

I feel like I'm in a Steve Berry novel here...

"Toshiaki Yokota and Genshi Kyodotai" is at the meeting place of jazz and rock. That exciting time at the turn of the 1970 decade, long before what is commonly referred to as fusion, when the ambition of free jazz met with rock's exciting psychedelic nature. It wasn't important to display Berklee-trained chops, but rather it was about texture, atmosphere and creativity at its most radical. But fortunately it stops short of free jazz's reckless abandon - that point where it's just noise for the sake of noise. There is meaning to every note, instrument and pattern. As well, we get a peek-through-the-bushes look at a Japanese sacrificial ritual as described by the tribal drumming, Hammond organ shards, wordless monk chanting, Yokota's flute and Mizutani's acid fuzz guitar blazing a wah wah trail all to be one with Kami. And that's before we get to the Hare Krishna chorus. An album like this becomes mythical because it is mystical. It's in the same league of sixth dimensioners like Älgarnas Trädgård's "Framtiden Är Ett Svävande Skepp, Förankrat I Forntiden", Lula Côrtes e Zé Ramalho's "Paêbirú" or Pierrot Lunaire's "Gudrun". If Rolf-Ulrich Kaiser had heard this band, they would have been signed to the Ohr label on the spot.

This album perfectly fits my idea of a "freaky underground album". No, it's not the greatest album of all time. Or even close. But it is the kind that you want to listen to over and over. Because it's fascinating and exhilarating.

Sunlight - Creation of Sunlight. 1968 USA

2011-10-27T07:00:00.009-05:00

Sunlight - Creation of Sunlight. 1968 Windi.

CD reissue: 2005 Lion Productions.
LP reissue: 2002 Void.

CD is a fantastic job with historical liner notes, and a rare single (of which one of the two songs is unique). Watch out for bootlegs of this title.

Excellent sunshine pop psych with harmony vocals, flute,organ, fuzz guitar. Frequently compared to the early Strawberry Alarm Clock albums, and that's a fair comparison - though not near as consistent overall.

Within collector circles, the band has always been known as Creation of Sunlight. However, according to the liner notes of the CD, the band was called Sunlight and "Creation of Sunlight" is the album title. Despite being on the quirky Windi label, which was based in Utah, the group were from Long Beach, CA. Windi is most famous for releasing the Merkin album.

Gravy Train – (A Ballad of) A Peaceful Man. 1971 England

2011-10-23T11:19:00.005-05:00

Gravy Train – (A Ballad of) A Peaceful Man. 1971 Vertigo (UK, Germany and Italy)

CD reissues: 1990 Repertoire; 2000 Universal (Japan mini-LP); 2002 Repertoire (bonus tracks); 2006 Repertoire (mini-LP, bonus tracks)

LP reissue: 2003 Akarma.

Gravy Train's second album has pretty much fallen into the "common copy" chasm. It's mainly been reissued by the Repertoire label (a few times) as well as Akarma. It would be nice for a specialist label to take it on and do it right, like Esoteric. As always the Japanese mini-LP is likely to be the same master as the Repertoire. But since it features a wonderful gatefold cover, it's worth getting in the mini-LP format - even though it lacks any extras like liner notes, bonus tracks, concert promos or photos. That's the version I own anyway.

There are plenty of good reviews of this album out there already that I agree with. Check a few of these from RYM.

Mahoujin - Babylonia Suite. 1978 Japan

2011-10-20T05:00:00.005-05:00

Mahoujin - Babylonia Suite. 1991 Made in Japan. CD archival release of a 1978 studio recording.

Mahoujin was quite a discovery for Made in Japan back in the early 90s. Probably the best of their archival finds (another title from this series that we recently featured is Round House). Mahoujin are quite simply an instrumental progressive rock band performed by a keyboard trio. It runs the gamut of similarly minded trios starting with the obvious - ELP - and moving on to Trace, Egg, Triumvirat and even Le Orme. Plenty of polysynths and mellotron to absorb. The music never really takes off, or gets chaotic. However it is highly melodic, and the pace varies enough to hold the attention span in check. I've owned this CD for 20 years, and it's always a good one for a revisit.

RYM lists the group as Mahojin, though the spine of the CD marks it as Mahoujin. Probably another lost in translation situation. As well, the cover scan I've provided comes from RYM, and it's been doctored. The original CD cover is not as colorful - more like a typical medieval European painting which is what the cover emulates.

Dr Tree - s/t. 1976 New Zealand

2011-10-19T06:39:00.005-05:00

Dr Tree - s/t. 1976 EMI.

CD reissue: 2007 EMI.

If you're looking to obtain this title, be very careful. Most of the versions that are available here in the US are bootlegs, in one case a pirate attempt was released after this legit version. The CD I own is printed by EMI New Zealand and is pretty much a straight reissue, with unique liner notes about the band. Almost assuredly you will need to import this directly from New Zealand. Look on ebay (which is where I got mine) , or you can get them from this shop based in NZ.

Dr Tree's sole album is one of the hottest fusion albums of the 1970s. That's a pretty bold statement given the multitude of albums in the genre, but for those that know the album, it remains true. A 6 piece, with dual percussion, fiery guitar, Fender Rhodes, bass and.... trumpet. This latter element adds a unique dimension. And while you may be thinking this will put it in the Miles Davis camp, that wouldn't be right either. This isn't the heavy deep groove of Miles (which would have been fantastic as well), but more like the high energy of prime Return to Forever with trumpet as one of the lead instruments. Obviously plenty of room is also left for the guitarist to shred and the keyboardist to fly. The two percussionist's keep the tunes hopping throughout. Considered by fusion fans as a must own. Just be sure to get the only legit version as discussed above!

As an aside, you may be asking where the period is on Dr(.)? It doesn't appear anywhere on the album, though I do think it is meant to be short for Doctor - rather than just the Dr letters. (see comments for an explanation).

Rock Workshop - s/t + The Very Last Time. 1970-1971 England

2011-10-18T05:00:00.004-05:00

Rock Workshop - s/t. 1970 CBS.
Rock Workshop - The Very Last Time. 1971 CBS.

CD reissues: 2002 & 2004 Angel Air (respectively). There's also Japanese mini-LPs on Air Mail from the same time frame. I own the UK jewel case versions.

Each CD features copious bonus tracks, band written liner notes, previously unreleased photos. Excellent reissues. These were released on a high profile label like Angel Air, no doubt due to the fact that the leader of Rock Workshop was none other than relatively famous jazz guitarist Ray Russell's band.

Rock Workshop were yet another early 70s horn rock band, when that sound was all the rage, due to the massive popularity of Blood Sweat & Tears and Chicago. In England you could find other bands in this style like Heaven and Brainchild. Lead by jazz guitarist Ray Russell, Rock Workshop had the pedigree to go far. Musically, the band played both sides of the horn rock spectrum - from blues to jazz. The music never really goes off the rails, rather opting to clearly try to grind out a hit, as Ray Russell grouses about in retrospect in the liner notes. All the same, there are plenty of super tracks found on both albums (including the bonus tracks). Good fuzz bass, acid guitar and advanced horn charts. As readers of my blogs know, I like a good horn rock album - and no doubt Rock Workshop are in the top half of the genre. While I wouldn't call this top tier like the aforementioned Brainchild or Heaven albums, Rock Workshop is a fine example of the UK brass rock style. The bonus tracks on The Very Last Time are awesome, showing the band at their most raw and progressive, and thus the more recommended of the two CDs.

Orchestra Luna - s/t. 1975 USA

2011-10-14T05:00:00.001-05:00

Orchestra Luna - s/t. 1975 Epic

CD reissue: 2007 Market Square (UK).

CD is a nice legit reissue with full liner notes and photos.

In honor of Modulus' reissue of Randy Roos' "Mistral" album, as mentioned on the CDRWL, which is now scheduled for March 2012 - my friend and Gnosis colleague Eddie Lascu sent me a CD of Randy's first band - Orchestra Luna, which is quite a bit different from the fusion-esque Roos album.

Though a bit out of scope for the usual UMR fare, I think it's an album worth discovering. No sense in myself writing a review, when Eddie has already provided a fantastic and enthusiastic review on Gnosis. Check it out!

Thanks again Eddie for sending over the CD!

Surgery - Übermorgen. 1980 Germany

2011-10-13T05:00:00.003-05:00

Surgery - Übermorgen. 1980 Yregrus. (Surgery backwards)

CD reissue: 2010 Garden of Delights.

CD features 10 bonus tracks, history, photos. Great reissue as usual from GoD.

Yet another unknown German fusion album from the late 70s and early 80s. File along with the "German M" groups like Moira, Mosaik, Munju, Missus Beastly and Morpheus. Some pretty hot psychedelic guitar, especially on the first side. Superb unison melodies with the sax and electric piano. Can get to be a bit breezy on Side 2, though some of it reminded me of Ash Ra's "Correlations" in the guitar work oddly enough. A Latin jazz vibe pervades. Very good representation of the style.

I Teoremi – s/t. 1972 Italy

2011-10-12T05:00:00.003-05:00

I Teoremi – s/t. 1972 Polaris.

CD reissues: 1993 Vinyl Magic; 1999 Akarma; 2011 Belle Antique (Japan mini-LP).

LP reissues: 1993 Vinyl Magic; 1999 Akarma.

This is one of the rarest Italian progressive rock albums as an original LP, and I've never actually held a copy. Vinyl Magic (1993) was the first CD on the market, and like all of their releases, was just a straight reissue with no extras. So the Japanese mini is the way to go here, especially when you consider the album featured a textured gatefold cover with an inner flip over the vinyl entrance area. It's hard to appreciate the beauty of the cover with the scan provided.

I Teoremi was one of the few early 1970s Italian progressive rock albums that I didn't care for initially. I bought the Vinyl Magic CD as soon as it came out, and ditched it immediately. But that was my mistake. I Teoremi is more of a guitar based hard rock album, with elements of progressive rock - mostly found in the shifting rhythms and overall atmosphere. In this way, I Teoremi is more like the first two Il Rovescio della Medaglia albums, or perhaps even Osage Tribe.

Kollektiv - s/t. 1973 Germany

2011-10-11T05:00:00.003-05:00

Kollektiv - s/t. 1973 Brain.

CD reissue: 2007 Long Hair.

CD has liner notes, photos, 4 long bonus tracks. Long Hair comes through with another splendid reissue. I also have the original LP which comes with a gimmix cover, that was to be used as a game to mix variations on words like Pop, Rock and Jazz. It's rare to find the LP with an unperforated sheet - mine has been cut (carefully and very nicely done), so at least I can play the game then! This would be an awesome candidate for a Japanese mini-LP (or even as an LP reissue for that matter). If one did come out in the mini-LP format, I would own all 3 versions - the Brain LP, the Long Hair CD and the Japan mini.

Until the end of 2006, there were three really GREAT Brain Metronome label albums still not on CD: Kollektiv, Thirsty Moon's debut and Satin Whale's "Desert Places". Long Hair has taken care of the first two, and now only the great Satin Whale album remains.

Kollektiv's sole album (and there are two fantastic live and archival releases from Long Hair also worth seeking out - and I hope to feature eventually) is one of those Krautrock gems that few paid attention to until recent times. Generally panned by the underground rock community as "jazz", this is squarely in what is now known as "Kraut fusion" and had it been on the MPS label (which it should have been probably), would be even more sought after by those into "rare groove". Loads of flute, electric sax, scattered rhythms and the all-important fuzz guitar never too far away. The missing link between Xhol Caravan and the late 70's fusion movement in Germany (Mosaik, Cry Freedom, Morpheus, Katamaran, Munju, etc...)

Wapassou – Messe en re Mineur. 1976 France

2011-10-10T05:00:00.003-05:00

Wapassou – Messe en re Mineur. 1976 Crypto

CD reissues: 1994 Musea; 2009 Belle Antique (Japan mini-LP)

The liner notes of the Musea CD are only in French (strange for Musea, especially considering the first album was in both English and French). On the plus side, the CD has the photos and great sound (no bonus tracks). There's also a Japanese mini-LP, but the original is a relatively simple single sleeve, and I didn't bother to upgrade.

Wapassou clearly establish their patented sound here, progressing on from their debut album, which we've already featured. All the same, I still love the amateurish charm of the first one. That said, "Messe en re Mineur" is an atmospheric gem, with loads of echoed violin and gorgeous wordless female voice.

I couldn't find a sample of the album on YouTube,though you can hear the whole album below. It should be apparent rather quickly that this is a beauty worth owning a CD of.

Odissea - s/t. 1973 Italy

2011-10-09T05:00:00.005-05:00

Odissea - s/t. 1973 RiFi

CD reissues: 1989 Vinyl Magic; 1991 King (Japan); 2011 Belle Antique (Japan mini-LP).

Prior to this, I was in possession of the Vinyl Magic CD, which has been on the market since 1989, and remarkably was the only readily available CD out there before this version. This was one of the very first albums I bought on CD without owning the LP first - and according to my database I've owned it since 1990. I like the scan from RYM (shown here), because it is indeed true that almost all original copies suffer from lamination "crinkling".

The other progressive rock band on RiFi, the label most known for bringing Circus 2000 to the world. Odissea is generally considered a second or third tier Italian progressive work, but I disagree. All the elements of classic Italo-prog are at play here, minus some of the more overt instrumental gymnastics of their peers. The song structures and atmosphere all point to the classic 1973 sound. The gruff and husky vocals recall Jumbo, and I find them highly appealing and very much of their era. I'm not prone to use terms like underrated, but I think this is one case that does apply. The implication is that Odissea are a "soft prog rock" band, but this is by no means a lame singer-songwriter album, and there are plenty of heavy progressive rock moments to be found.

The below clip sounds like it's from the original LP, rather than the CD. But it's a good example of the emotional beauty of the record.

Maneige - Ni Vent... Ni Nouvelle. 1977 Canada

2011-10-08T05:00:00.005-05:00

Maneige - Ni Vent... Ni Nouvelle. 1977 Polydor

CD reissues: 1994 Kozak; 2006 ProgQuebec; 2010 Belle Antique (Japan mini-LP)

I owned the first legit reissue of this album on Kozak for years and just upgraded to the Belle Antique version. I've had the original LP forever, and the album cover is one of my all-time favorites. So much so, that it is always on display at our home. As such, I really wanted the Japanese mini-LP, which is an exact copy of the ProgQuebec version, and includes 4 bonus tracks, though unfortunately leaves off the liner notes. Originals aren't terribly expensive, even now, so if you're a vinyl collector - be sure to grab one.

Another band that needs no introduction here. Maneige had decidedly turned to a more fusion stance by this, their 3rd album. If pressed to name a favorite, I would probably pick this album, but the first 4 are fantastic, as is any live recording that was recorded during the mid 1970s. And speaking of which, the 4 live tracks here demonstrate that Maneige were far more unrestrained live than in the studio, and these tracks pack a punch.

Wallenstein – Blitzkrieg. 1971 Germany

2011-10-07T05:00:00.006-05:00

Wallenstein – Blitzkrieg. 1971 Pilz.

CD reissues: 1990 Berhard Mikulski (Pop Import); 1993 Spalax; 1999 Zyx; 2011 Belle Antique (Japan mini-LP).

LP reissues: 1975 Clear Light of Jupiter (Australia - released as "Lunatics"); 1981 Pop Import; 1999 Think Progressive

While on the topic of recent Japanese mini-LP's from Belle Antique, let's cover Wallenstein as well (they reissued their first 4 and relevant albums). Wallenstein are one of those bands that have fallen prey to the "common copy" when it comes to CD reissues. All of the Zyx/Pop Import/Ohr reissues are legit - and bare bones. So might as well plump down a few extra coins and get an exact replica in miniature form. There are no specialist label reissues unfortunately. I also own the original LP on Pilz and it's a beauty.

We covered Wallenstein earlier with their 3rd album "Cosmic Century", where I would also recommend the Japanese mini-LP. Blitzkrieg is definitely my favorite by them, which shows the band in more high energy form, but otherwise my review there will suffice here.

The track below "Lunetic" (sic) opens the album and is my all time favorite Wallenstein song.

Area – Arbeit Macht Frei. 1973 Italy

2011-10-06T05:00:00.004-05:00

Area – Arbeit Macht Frei. 1973 Cramps.

CD reissues: 1989 Cramps; 1998 EMI; 2002 Akarma; 2007 Strange Days (Japan mini-LP); 2009 Cramps; 2011 Belle Antique (Japan mini-LP).

LP reissues: 2000 Get Back; 2011 Akarma

The 2011 Japan mini-LP truly replicates the original gatefold and includes the cardboard gun. I have a Cramps original on LP, but like most copies, does not include the gun. Otherwise, this album is easily obtainable and various CD issues go back to 1989 on the Cramps label itself. I had that version until I upgraded to the mini-LP. Unfortunately, there are no specialist label reissues with liner notes, bonus tracks, etc... so this is your best bet.

Very well known album that needs no introduction. For my tastes, this is my favorite Area album, closely followed by "Crac!". I'm not a huge Area fanboy as many of my friends and peers are, as I tend to shiver at Area's more avant garde and free-jazz moments. Thankfully those are kept at a minimum on their debut album, where the tight unison ensemble work allows Stratos to showcase his unconventional vocal style, which I do enjoy when not done to excess.

The below is the opening of the album, and is fantastic.

Round House - Jin Zo-Ni N Gen. 1978 Japan

2011-10-04T05:00:00.004-05:00

Round House - Jin Zo-Ni N Gen. 1991 Made in Japan. 1978 archived recordings.

Round House's sole album was compiled from two different 1978 sessions (studio and live). The album was later reissued in 2003 by Poseidon. I bought the MiJ version not long after it came out in 1992.

There was a time in the late 1970s that Japan's progressive rock scene was completely underground, with little to no formal product output to show for it. This was before the "Our 80's" as Marquee Magazine labeled it a decade later. When I started collecting Japanese progressive rock in the 1980s heyday (for Japan that is), the two premier names in the business were Kenso and Bi Kyo Ran. Round House is clearly cut from the same cloth, where both fusion and King Crimson influences are apparent. A complex instrumental fusion, that never loses focus on melodic composition. The group is a quintet made up with dual guitar leads, and plenty of electric piano.

If there's a complaint, it's that the sound quality wasn't quite ready for prime time. That's not to say it's audience bootleg quality either - but some of the dynamics are clearly lost. I'd say it's at 85% - and heck I know plenty of pure studio albums even today that sound worse than that. There were very few archival releases in 1991, so Made in Japan is to be much lauded for the effort here.

Most of the cover scans on the internet are from the 2003 reissue. The one I have pasted is more like mine, except the Made in Japan Records has been rubbed out (I believe this is from a pirate version). I couldn't find the original and I'm too lazy to scan mine in.

Orion - La Nature Vit, L'Homme Lui Critique… 1979 France

2011-10-03T05:00:00.003-05:00

Orion - La Nature Vit, L'Homme Lui Critique… 1979 Oxygene.

CD reissue: 1993 Musea.

CD features a great sound, bonus tracks, liner notes, photos. For whatever reason, the band chose to go with a new sleeve. I kind of like the original myself. The newer one is soooo 1990s clip-art.

In the early 1970s, Ange were the big name in French rock. Combining the progressive rock of Genesis and Yes with theatrical lyrics in French proved to be all the rage in France during this time. And naturally enough, it spawned an entire music movement with a 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. I hope that Musea starts up the reissue engine again, and releases the remainder of these great bands as demonstrated in the CDRWL.

Eider Stellaire - s/t. 1981 France

2011-10-01T05:00:00.001-05:00

Eider Stellaire - s/t. 1981 K1.

Moving this one to the current date. The below review was originally published on my personal website in 2007, and later here on UMR in 2009. Now we can celebrate the CD reissue, which just arrived this week!

CD reissue: 2011 Soleil Zeuhl.

The CD features a great sound, and one excellent, lengthy bonus track. And it's 100% legit - woohoo! For years I had heard this one would NEVER be reissued. I didn't believe them. More importantly, neither did Alain at Soleil Zeuhl. Nothing but respect for Alain and his label from me. This album is an absolute masterpiece!

Magma. Zeuhl. I could quit right there, and have served my purpose for many readers. Michel Le Bars ensemble was clearly developed with Christian Vander in mind. But he didn't Xerox the playbook and go off and play pretend. Instead Le Bars took some core formations and then added his own twists and turns, to create one of the best Zeuhl formulas to come along. Ever.

So where are these difference to be found? Vocals for one thing. Or lack thereof. There are no made up Germanic languages or the lingua franca of Eskaton being employed. There are, however, some nice wordless female vocals adding a softer non-threatening Northettes touch to the proceedings. Then there's the guitar. That's right, think about it. Electric guitar on a Zeuhl album. It's a rare species. It does exist, but mainly as an accent instrument. Not so on Eider Stellaire's debut. It's featured often, and adds quite a sizzle especially when paired with some fuzz bass. And, as on any Zeuhl album, if the bass player isn't driving the music forward - and you into oblivion - then quite frankly he's not doing his job. And Patrick Sinergy is up to the task. He may not be Top or Paganotti, but I don't think either of them would be unimpressed either. Electric piano is another staple of the business, and once again, Eider Stellaire succeeds at driving the pace with this perfectly tuned instrument. Add in some delicate flute and melodic sax to provide a little yang, and you have one great instrumental rock album, as only it seems the French can do. And don't bring up the Japanese zeuhl bands to me. Just don't. Oddly enough, the only instrumentalist that doesn't shine is Le Bars himself. On the drumkit, no one is going to forget Vander anytime soon. That's OK - as in sports, the best coaches are rarely the best players. Brilliant.

Acqua Fragile - Mass-Media Stars. 1974 Italy

2011-09-30T05:00:00.008-05:00

Acqua Fragile - Mass-Media Stars. 1974 Dischi Ricordi; 1974 Import Records (USA)

CD reissues: 1991 Contempo; 2007 BMG (Japan mini-LP); 2011 Sony; 2011 Esoteric (UK)

LP reissue: 1979 King (Japan)

I currently own the new Esoteric CD that features great sound, liner notes, lyrics, etc...

Earlier this month I featured Esoteric's reissue of Acqua Fragile's debut. To be honest, I had intended to get this title instead, but wasn't paying attention and grabbed the first one. I already had that one in the four poster Japanese mini-LP, so I was content and was looking to get the Esoteric album in the future as a supplement. Well I certainly did that- just way ahead of schedule! Anyway, here we are with their second album Mass Media Stars.

MMS is one of the earliest Italian progressive rock albums I ever bought, and was included in a pile of albums I bought in a small record store in the DFW area in the mid 1980s. It was the US Import copy of course, and not terribly rare, but I was just starting to collect European progressive rock and so I picked it up cheap (I picked up everything cheap back then - I barely had any money!). That same day I also bought a couple other Italian albums: Arti+Mestieri's "Tilt" on Cramps - and the big find, yet at the time I had no idea what it was - Il Balletto di Bronzo's "Ys" (the original with the libretto booklet - an album that will most certainly be buried with me). So unfortunately for Acqua Fragile, their album wasn't the one that wowed me that day when I returned home to the stereo. Eventually I sold the LP copy, and recently realized I never bought the CD! Well good timing on Esoteric's part! As I'm rather certain this is the best CD version of the album.

As I said in the CDRWL, let's hope that Esoteric continues with Italian progressive rock albums, and doesn't stop with only the English language ones (which are very few in any case). While BTF / AMS of Italy have done a good job on many titles - there are plenty more that could use a better reissue.

Hands - s/t. 1977-1980 USA

2011-09-26T05:00:00.003-05:00

Hands - s/t. 1996 Shroom. Archival recordings from 1977, 1978 and 1980.

We first spoke of Shroom in the Arabesque post a few months ago. For a period in the late 1990's, they proved to be the premier CD reissue archival label for America's unreleased progressive rock gems. I've never been intimately involved with the label, but do know pretty well a couple of guys from the original days, including one that is now an active, and fellow, RYM participant.

Hands is the album that pretty much started it all for Shroom. I'll never forget when I first heard this CD. I fell off my chair, perhaps literally. The fact that Hands were from Farmers Branch*, TX was surreal for me. Your humble author grew up and went to school all of about 2 minutes from the suburb, in NW Dallas. Anyone who is from the area, will remember the landscape well - with KZEW and KDFW 102 (pre-Q102) leading the way in FM radio. The years of 1977-1981 is where I cut my teeth on rock music - loyally listening to Randy Davis on weeknights, calling (bugging?) him many nights, and this incredible man taking my calls, and sometimes saying "hold on dude - let me put on a longer song and we'll talk". I mean, seriously, I was a 15 year old heavy metal punk with a thirst for knowledge and this radio professional would give ME the time? Wow. And he told me where I could find rare records and the like. That folks, is inspiring - even as I reflect over 30 years later. No rose colored glasses either - straight fact.

And so with my Sanyo all-in-one stereo, I would religiously pop in the cassette, and record KZEW's album of the night- which included everything from mainstreamers like Rush and Pink Floyd to local Dallas area AOR's such as Airborne (heard of them, have you?). Endless radio ads summoned you to wet T-shirt night at some local Dallas dive rock club (Ritz Theater, The Electric Ballroom, The Paladium, Agora Ballroom) with enticing band names, all long forgotten. But for certain, Hands was not among them. Can we go back to 1978? I want a do over.

Anyway, let's talk Hands for a brief moment. Yes, Gentle Giant, Genesis, ELP and every other mainstream progressive rock band will instantly come to mind. While never forgetting the longneck Pearl or Lone Star hard rock beer moments either. Guitar, violin, flute, keyboards, bass, drums...I mean really? In Farmers Branch? FB's Finest must've pulled them over a dozen times for going 36 in a 35 on Webbs Chapel (locals will get it).

A strikingly great piece of Americana progressive rock, that had NO CHANCE at major label attention. By 1980 The Police, Asia, The Buggles, Loverboy, and Journey ruled the airwaves. That's what the labels wanted to hear. Complex progressive rock was out. The New Wave and what we then called "corporate rock" were in. MTV was here to stay (I know, I'm so old I remember when MTV played music videos).

** So why does the name Farmers Branch mean anything to you? Perhaps you'll recall one of the earliest white rappers claiming he went to some "tough school in the projects". That was Vanilla Ice. And he went to Farmers Branch / Carrollton R.L. Turner High School (didn't even graduate). No street cred in that I'm afraid. Fraud.

*** And while on the personal topic, my good friend Dave, who was then starting a band called Storm at Sunrise - asked me my opinion on a guitarist he should choose - someone who could play both hard rock and progressive. I thought of Ernie Myers of Hands immediately - plus he was local to the area. Dave contacted him, and the rest is history.

National Health - Missing Pieces. 1975-1976 England

2011-09-25T05:00:00.006-05:00

National Health - Missing Pieces. 1996 ESD. 1975-76 recordings, with one 26 second silly audience bit from 1979.

East Side Digital of Minneapolis are most famous for reissuing all 3 National Health studio albums in one glorious 2 CD package - as far back as 1990. It's worth the price of admission alone for the absolutely hilarious liner notes from main protagonist Dave Stewart. So when ESD announced they had unearthed a pile of unreleased gems, prior to their first album, with Mont Campbell (Egg), Steve Hillage and Bill Bruford amongst the usual Canterbury suspects - along with more hysterical liner notes - well... we all couldn't get our wallets out fast enough.

Perhaps most amazing is that most of this CD is on par with their brilliant first two albums (and I'll proudly go on record here - I'm a huge Canterbury fan - and I think National Health are the best band of the entire scene - especially "Queues and Cures"). Some folks even say it's their best album period. While I won't go that far, I will say this is one of the most essential archival albums ever released.

Ramses - La Leyla + Eternity Rise. 1976,1978 Germany

2011-09-24T05:00:00.001-05:00

Ramses - La Leyla. 1976 Sky; 1976 Annuit Coeptis (USA)
Ramses - Eternity Rise. 1978 Sky.

CD reissue: 1993 Sky.

Both albums on one CD. Pros: From the original label (masters) and both albums in their entirety. Cons: No extras, liner notes, new photos, no nuthin'.

The Sky label was founded by a former Brain label executive, and originally the label was patterned after the successful cult institution, before pretty much dedicating to electronic music by 1979. Ramses, along with Shaa Khan, were probably their most overtly progressive rock unit. Eloy seems to be the most obvious influence, with a strong English lyrical content, analog keyboards (mellotron, organ, synthesizers), loud acid guitar, fat bass, heady concepts and extended track lengths. The decidedly slower pace was very much in vogue in Germany during this era (Novalis, Minotaurus, Albatros, Indigo, and dozens of others) clearly demonstrating a love for classic Pink Floyd in their commercial prime.

Eternity Rise is a very slight drop off from the debut. There are a couple of more overt attempts at commercial success here, and that's really the only misstep. Otherwise, the sound is pretty much the same as the debut.

Ramses were a solid, though not a spectacular, German symphonic progressive rock group.

Luciano Basso - Voci. 1976 Italy

2011-09-23T05:00:00.001-05:00

Luciano Basso - Voci. 1976 Ariston.

CD reissues: 1994 Vinyl Magic; 2007 BTF (mini-LP); 2009 Belle Antique (Japan mini-LP)

LP reissue: 2008 BTF

Currently I own the original Vinyl Magic CD as well as a true original LP - that is one with a textured cover, which is actually quite scarce (many of the originals were smooth covers, which were pressed slightly later).

1976 is pretty much the last hurrah for this kind of "big" symphonic progressive rock coming from Italy. Madrugada, Corte dei Miracoli, Celeste, PFM and Banco DMS all threw in their lot for one last try - before either folding or succumbing to more trendy fusion or pop styles.

Basso's debut is a very fine example of this sound. Eschewing the heightened frenzy of the classic early 70's sound, Basso takes on a more mature and measured disposition, and the album is very pleasant. The keyboards are all the classic vintage 70's toys (Mellotron, Hammond, electric piano) along with quite a bit of expertly played acoustic piano parts. A strong violin/cello presence adds a unique dimension, while guitar and a sprightly rhythm section round out the sound. Hard to go wrong with this one for progressive rock fans. And while it doesn't extend much beyond the genre's norm, for something perhaps truly extraordinary, it nonetheless fulfills the daily bread portion of one's progressive musical diet.

Grupo N.H.U. - s/t. 1978 Spain

2011-09-22T05:00:00.004-05:00

Grupo N.H.U. - s/t. 1978 Novola Zafiro.

+++ Recommended reissue: 2000 RCA (Zafiro/BMG). Well it's recommended because it's 100% legit, from the master tapes and the original label. Otherwise, it's a bit of a disappointment (no liner notes, bonus tracks, etc..). Typical of reissues from Spain unfortunately. And like many Spanish albums, the original LP is worth owning for the quality and the cover - and I kept mine.

In 2001, I wrote the following for Gnosis: "1978 was Spain's boom year in terms of progressive rock music, and Grupo N.H.U. met the challenge head on. One of the finest from the Spanish progressive scene, Grupo N.H.U. contains everything that made the Spanish scene so special. Strong compositions marked by many changes. Fat keyboards, loud acid guitar, and a complex, exciting rhythm section make up the centerpiece of the group. An excellent vocalist and a strong fusion edge a la Mahavishu Orchestra rounds out one of the true bona-fide classics of the Spanish scene. An absolute must hear. "

Gosh, do I have anything to add? Perhaps a bit more psychedelic space rock oriented than I implied above. You know, it's not really a typical Spanish release, in the sense that it lacks indigenous qualities - qualities which were still in abundance in late 1970's Spain. Final smokin' fusion track reminds me of primo Crucis (Argentina). N.H.U. stands for Noche Hermosa Una (A Beautiful Night).

Spektakel - s/t. 1974 Germany

2011-09-21T05:00:00.000-05:00

Spektakel - s/t. 1996 Laser's Edge. Recordings from 1974.

I still remember when Ken first put this CD out - myself and my running pack all bought it immediately and unconditionally. I can only imagine his initial enthusiasm at discovering such buried treasure as this. It had to be transcendental. A few years earlier, he had released the full canon of SFF's works (Schicke, Führs & Fröhling) - already a monumental achievement, especially for an American label. But now this? Sounding like demo versions of Cathedral's famed "Stained Glass Stories" or the also-to-be-discovered-later Deju Vu "Between the Leaves" (Norway), Spektakel is the mellotron soaked fantasy of every progressive rock collector's dreams. Is it a little loose in places? Well, sure. It wasn't ready for prime-time. But when you consider how strong the material is despite the lack of original editing, holy cow - this is about as good as it gets. An absolute must own archival release.

Epidaurus - Earthly Paradise. 1977 Germany

2011-09-20T05:00:00.001-05:00

Epidaurus - Earthly Paradise. 1977 private.

+++ Recommended reissue: 1991 Garden of Delights (then known as Penner). Also reissued on vinyl by Resurrection (1995) and Garden of Delights (2010). This is release number #1 for the famed GoD label, and is considerably weaker from an archival perspective (music is great!) than later reissues. There's a very brief bio, all in German, and one fuzzy photo - and that's it! They were to improve dramatically as a label from here though.

If there's ever an album that is misunderstood, it's this one. Naysayers are a fact of life in the progressive rock world, and boy do they line up to skewer this baby. They hyperventilate in their glee to scream "overrated!", "overhyped!", "over-everything-I-hate-about-progressive-rock-collectors-even-though-I-am-one!". Favorite target of course is vocalist Christiane Wand. She sings soprano, which sounds a bit disorienting at first, but actually adds a certain amateur charm. Her total impact? About 4 minutes of the disc - all on Side 1. Yep - that's about it. 4 minutes. And her wordless voice is quite enticing, further adding to her value. You'd think by reading many reviews she was all over this thing like Diamanda Galas.

So even if her rather strange voice is not according to your taste, there is close to 30 minutes (it's a short album anyway) of HIGH QUALITY instrumental dual keyboard-driven progressive rock. The album is loaded to the gills with mellotron, Moog, organ, flute, Taurus pedals, active rhythms, the works (no guitars though). It has a very fat sound that I find highly appealing. In fact in some ways, Side 2 could work well as an excellent example of Berlin School sequencer based electronic rock (Schulze's "Moondawn", Wolfgang Bock's "Cycles", You's "Electric Day") - especially the track 'Mitternachtstraum'.

Don't let the wet-blanket crowd get you down. This one is truly a gem.

Tangle Edge - Dropouts. 1983 Norway

2011-09-10T05:00:00.002-05:00

Tangle Edge - Improvised Drop Outs. 1983 Mushroom (cassette). 1990 Auricle (UK cassette).

+++ Recommended Reissue: 2010 private. The CD is named "Dropouts". Self-released by the band. 2 CD in a small flip pack. It's lacking any extras, like bonus tracks, liner notes or photos, but it's still nice to have this on CD - and much better than those old cassettes!

Improvised Drop Outs is well named, as that's exactly what it is. Basically these are relatively short song skeletons, with free form psychedelic improvisations thrown on top. If you're familiar with Tangle Edge at all, the style is instantly recognizable even at this early stage. It can all be a bit much. As the AC joked on the CDRWL: "seems like nine and a half hours", but it does have a trance like effect if you leave it in the background. It's incidental film and TV music for an opium den. For my ears, this is way more preferable than the modern noise makers such as Acid Mother's Temple.

Ibliss - Supernova. 1972 Germany

2011-09-09T05:00:00.001-05:00

Ibliss - Supernova. 1972 Aamok (Spiegelei).

+++ Recommended Reissue: 2009 Garden of Delights. Great sound, liner notes and photos. No bonus tracks for this one though (rare for GoD).

Ibliss are a superb ethnic jazz rock band with psychedelic flute, percussion and guitar. Music can best be described as moody / atmospheric mixed with heavy jamming. A bit like classic Embryo, as found on "Rocksession", but more loose and free.

Axe – Live & Studio. 1970 England

2011-09-08T05:00:00.001-05:00

Axe – Live & Studio. 1991 Kissing Spell. Recordings primarily from 1970 with one live track from 1969.

Axe were a bit more psychedelic influenced than most UK bands from this era, though they do remind me somewhat of the Julian's Treatment album. The female siren squeal vocals recall Circus 2000, and in fact, Axe's recording here seems like the missing album between the two Circus 2000 gems. Some really splendid guitar (with acoustic accompaniment) can be found here.

Kissing Spell found all sorts of oddities like this in the early 1990s. Mostly in the hard rock and folk genres, but with an occasional foray into progressive rock. Their booklets were light on details, but still better than nothing.

Acqua Fragile – s/t. 1973 Italy

2011-09-07T05:00:00.000-05:00

Acqua Fragile – s/t. 1973 Numero Uno. Original comes in a cool 4 poster cover.

+++ Recommended Reissue. 2011 Esoteric. With liner notes and unique photos. No bonus tracks, but definitely the best sounding CD version out there. I also own the Japanese mini-LP on BMG (2004), which features the original cover in great detail.

Given that Acqua Fragile sing in English, their sound is more typical of the UK progressive rock movement (elements of Genesis, Yes and Gentle Giant are obvious). Despite that, I still find both Acqua Fragile albums appealing - and Lanzetti has a unique voice that served PFM well for many years afterward.

Missus Beastly - Dr. Aftershave and the Mixed Pickles. 1976 Germany

2011-09-06T05:00:00.001-05:00

Missus Beastly - Dr. Aftershave and the Mixed Pickles. 1976 April (later Schneeball)

+++ Recommended Reissue: 2011 Garden of Delights. Two excellent bonus tracks (taken from the Umsonst und Draussen festivals), great sound, thick booklet with history and photos. Superb reissue as always. Worth noting this is the first album on the April label, later renamed Schneeball for legal reasons. The original LP comes in a folder cover, without borders.

"Dr. Aftershave..." sees Missus Beastly moving onto the more-in-fashion funky sounds of the era, while still building on the jazz rock of the 1974 album. Anyone who is familiar with Embryo's "Bad Heads and Bad Cats" will immediately recognize the sounds here (and they share many members between the groups).

Sunbirds - s/t. 1971 Germany

2011-09-05T10:37:00.003-05:00

Sunbirds - s/t. 1971 BASF.

+++ Recommended Reissue: 2011 Garden of Delights. Two excellent bonus tracks, great sound, full booklet with history and photos. Nobody does reissues better! And I'm quite glad to be in possession of the original LP too.

Sunbirds are perhaps the ultimate soundtrack for your next autobahn excursion. We're talking open top BMW convertible, hot megababe sitting next to you, hairspray, loads of mascara and thigh high white go-go boots - with 4 inch heels. Oh really, you have no idea what I'm talking about? Go over to your cable TV and find some independent channel that has some feature at 3:00 in the morning with a name like Weird Ass Euro Theater. Catch a flick like “The Girl on a Motorcycle” and you're there.... BABY! Must be a European production, even a soft core flick will suffice. Put on the Sunbirds, kick back, relax and drift into your inner vertigo. Extra points if you have shag carpet and wood paneled walls....

Musically the Sunbirds' albums can best be qualified as "flute groovers". That is to say, they are seasoned in the jazz idiom, but also wanted to venture into the psychedelic sounds of the day. Chris Hinze, Lloyd McNeill, and Bjorn J:Son Lindh did this too. But the Sunbirds also had that Krautrock thing going on, and you know they were hip to Wolfgang Dauner, Association P.C. and the whole gang at MPS Records. Plenty of wild fuzz guitar and electric piano. Especially on the first album, the Sunbirds could have easily fit on the Brain label, and may have had they come around a year or two later. File next to your T. Yokota and the Beat Generation record. Of course you have that...

Can - The Peel Sessions. 1973-1975 Germany

2011-08-18T23:41:00.005-05:00

Can - The Peel Sessions. 1995 Strange Fruit (1973-1975 archival live recordings)

For me, the single best Can album, even though it's an archival live compilation. Encompassing the years from 1973 - 1975, we catch Can at their most inventive, entirely within an instrumental mindset. Only the near 19 minute opener features the familiar Damo ranting, and even then, the majority of the track features an overt instrumental jamming motif. Otherwise it's psychedelic guitar, organ, bass and drum jams - wild, woolly and unpredictable - exactly what you would want to hear from a Krautrock legend. Well, OK true, Karoli puts in a few words on Geheim, but it's easy to overlook. A phenomenal anthology of work. A must own CD.

Scarecrew - Magical Mind. 1975 Germany

2011-08-16T21:26:00.005-05:00

Scarecrew - Magical Mind. 2006 Ricochet Dream (1975 archival recording)

Sounding like a lost recording by the Cosmic Jokers clan, Scarecrew offer up another glimpse into the creative mind process of some of Krautrock’s visionaries. With Steve Shroyder (Tangerine Dream) on keyboards, and John L (Ash Ra Tempel) providing his usual anguished cosmic prayer calls, this is certain to satisfy fans of Ash Ra Tempel’s “Schwingungen”. The enchanting female vocals instantly recall Gilles Zeitschiff’s “Sternenmadchen” album or some of the echoed phrases by the Galactic Supermarket. Scarecrew were a 6 piece group and features no less than five guest appearances. The recording, while not ready for the Cosmic Courier label, is certainly well preserved. By 1975, this scene was pretty much dead and buried. But as this reel demonstrates, it appears they just went back into the underground, where it seems so natural. CD is on the Ricochet Dream label (in a limited edition of 300), based here in the US.

High Tide - s/t. 1970 England

2011-07-26T05:00:00.000-05:00

High Tide - s/t. 1970 Liberty.

+++ Recommended reissue: 2006 Eclectic (or the subsequent repress on Esoteric). 4 bonus tracks, unique liner notes, unseen photos. Great reissue.

Well known UK heavy instrumental power rock group with guitar and violin leads. The Eclectic / Esoteric CD is a must own just to hear the near 16 minute "The Great Universal Protection Racket", which was recorded with the same sessions as the others on the album and was a last minute cut due to time constraints. And it's as strong as the other material, maybe even a little better.

Poobah - Let Me In. 1972 USA

2011-07-25T05:00:00.000-05:00

Poonah - Let Me In. 1972 Peppermint.

+++ Recommended reissue: 2010 Ripple. 12 bonus tracks, lyrics, unseen photos.

Poobah are perhaps the best example of the hard working, musically competent – but unsigned – 1970s Midwest rock group. Hailing from Youngstown, OH, Poobah possessed a rare talent in guitarist Jim Gustafson, who could jam with the best of them. They managed 3 self-released albums spanning from 1972 through to 1979 (though they recorded even more in the interim periods). “Let Me In” is a raw, but very powerful, hard rock album and can easily be seen as the blueprint for which most Midwest rock albums sound like. The sketch of a drunk puking across the bathroom is the perfect metaphor for the “life of an Ohioan rock n roller”.

Favorite track: Bowleen
Favorite bonus track from the Ripple CD: Make a Man Outta You

Ravjunk - Uppsala Stadshotell Brinner. 1977 Sweden

2011-07-22T05:00:00.003-05:00

Rävjunk - Uppsala Stadshotell Brinner. 1977 private.

+++ Recommended reissue: 2007 Transubstans. 2 CD set, with close to 90 minutes of bonus studio and live material, also from 1977. Liner notes, photos, etc... A great reissue.

Rävjunk were one of the pioneers of Sweden's nascent punk scene, though their sole album only featured scant evidence of this style. After the first 3 short vocal oriented punk influenced tracks, most (excepting one out of place swampy blues number) of the remainder is long form guitar based jamming, along the lines of early Guru Guru, Can or an instrumental Stooges. The Krautrock influence becomes even more pronounced on the bonus material that closes out Disc 1 (20 minute track) and all of Disc 2. The liner notes confirm this is no accident, and describe how the band was torn between becoming the Swedish Sex Pistols or a terminally non-commercial instrumental underground act. The former was the direction they took afterwards, but the latter appears to have won out as the band was pretty much done by 1980.

If you are a fan of their psychedelic side (like me), then the CD is a must own. The original album could have easily been a triple LP, based on the strength of the material here.

Hiromasa Suzuki - Rock Joint Biwa (Kumikyoku Fulukotofumi). 1972 Japan

2011-07-09T05:00:00.000-05:00

Hiromasa Suzuki - Rock Joint Biwa (Kumikyoku Fulukotofumi). 1972 RCA Victor 4-Channel "QuadraDisc" (R4J-7015)

+++ Recommended reissue: 2011 Sony. Straight reissue, but great sound.

I maintain that Japan is hiding the most buried treasure when talking underground rock from the 1970s. I'm still hearing about dozens of albums that almost no one has any data on. Whether or not they are truly what is purported remains to be seen and heard. I recall a similar experience when going on a deep sea expedition (in the early 1990s) through the Yugoslavian 70s scene, only to find a true few that really matched what was advertised.

Similar to T Yokota's Primitive Community album, we are at the meeting place of rock and jazz. Except the all-instrumental Furukotofumi has a completely different sound than Yokota's bunch. Definitely not a mystical experience as Primitive Community is, yet there are some fascinating Japanese indigenous moments to behold - primarily used as interludes between songs. I'd say the scales are more tipped towards the jazz side here, but make no mistake, this clearly is psychedelic rock influenced throughout. Some fantastic electric guitar work, including at least one blazing acid solo (and mixed with a biwa no less) amongst other excellent amped up shredders. A definite early fusion vibe permeates as well, no doubt informed by the UK groups like Nucleus or Soft Machine. Rhodes, piano, violin and organ also get their turn in the solo spotlight. Even a little Bacharach-ian lounger, with some wonderful horn and string charts, soap opera organ and a nice toned down guitar rip. The highlight is the pounding drum, biwa and psychedelic wah wah guitar piece followed by the groovy horn charts, sax solo - and get this - all phased out ala Dieter Dirks in the Kosmische Kourier studio. There's a lot here to digest.

The below is my friend Rob's research. Fascinating stuff.

"Shiro Miyake (biwa)
Akira Ishikawa (wadaiko)
Hirasama Suzuki Trio
Kiyoshi Sugimoto (guitar)
Suzuki Takehisa (trumpet)
Takeru Muraoka (tenor sax)
Tadataka Nakazawa - (trumpet)
Tamaki Quartet

As you can see from the back cover, this "Fulukotofumi" name came from a mis-romanization on the LP itself. There is no "l" sound in Japanese, it's always a hard/trilled "r". They sound the same to the Japanese ear, so they often make that mistake when translating things. Whoever got the LP and submitted it to Pokora obviously could only read that bit of text on the jacket, so Pokora printed it like that in one of his books and the incorrect name spread around. The actual name as I printed it above means "Suite: Furukotofumi". The Furukotofumi is also known as the Kojiki, or the "record of ancient matters". It's the oldest known book in Japan (from around 600 or 700 AD) and is full of creation myths, poems and songs, etc. This album has the concept of fusing the spirit of Japanese mythology (primarily through the use of biwa as lead instrument) with jazz and "new rock" (as they liked to call it in Japan back then), so that's why the Kojiki is used as source material. It was released as one of those Victor 4-channel discs that were popular in Japan for a brief period, and was actually supposed to be the first of a series of these concept albums. Unfortunately, only one more was released. It came out in 1973 and is called "Rock Joint Sitar - Kumikyoku Silk Road". As you might guess, this one has the concept of fusing new music with ancient Indian and central Asian sounds, with sitar replacing the biwa. It features many of the same musicians as the first LP."

Wow.

Serge Bringolf - Strave. 1980 France

2011-07-08T05:00:00.003-05:00

Serge Bringolf - Strave. 1980 Omega Studio.

+++ Recommended reissue: 2011 Soleil Zeuhl. Liner notes, photos.

Drummer and bandleader Bringolf put together the 10 piece Strave outfit that sounds somewhat like a big band version of Magma. Trombone, trumpet, sax, violin, vibraphone, bass, and flute represent the instruments utilized along with wordless voice. No keyboards or guitar, which is unusual for a group with any kind of rock context, such as this (even though the scales are clearly tipped towards a jazz sound). Their debut was originally released as a double LP, and features 4 very long tracks - all of which fit nicely onto this one CD. A unique band in the Zeuhl world.

Thunderpussy - Documents of Captivity. 1973 USA

2011-07-07T05:00:00.001-05:00

Thunderpussy - Documents of Captivity. 1973 MRT.

+++ Recommended reissue: 1996 The Wild Places. 4 live bonus tracks and historical liner notes.

So here we are again, in the great American Midwest, this time from the southern Illinois town of Carbondale. 1973 is a bit early in the game for the classic regional sound, but some of the earmarks of the scene are already in place.

With 3 part thematic tracks (or poems as the liner notes state), and titles all beginning with 'Document of...' (e.g. 'Enigma', 'Validation', 'Extrinsic Value', etc...) and each featuring a creative instrumental mid-section, one has to wonder how such a heady band ended up with the Thunderpussy moniker. I could see a band having this name as a blues rock cover band playing for drunks and dopeheads - but I would think a name change may have been appropriate by the time they laid down the recordings. In essence Thunderpussy are a guitar trio, with many acoustic sections including flute, and sometimes utilize harmony similar to maybe CSN. As the album wears on, it becomes heavier and more ambitious, to the point where it could be considered the great grandfather of epic progressive metal. I wonder if fellow Midwesterners Manilla Road (and Mark Shelton is a knowledgeable music fan) might have stumbled onto one of these LPs in the 1970s. Or perhaps other groups were performing in the area that were similar to Thunderpussy back in the day, but there's no aural documents remaining. This album is distinctly American, underground, creative and flat out freakin' cool.

Dillinger - Don't Lie to the Band. 1976 Canada

2011-07-06T05:00:00.002-05:00

Dillinger - Don't Lie to the Band. 1976 Daffodil.

Reissue: 2001 Unidisc. Straight reissue, no chaser.

Here we go again with another ashratom Midwest progressive rock classic. As stated in a couple of other places, I consider Ontario as part of this scene, as there are many similarities across economic and cultural lines. And once again we are at the crossing path of unabashed FM radio hits and off-the-hinges radical complex progressive rock.

This one front loads all the bad tracks, so that your typical downloader will have already given up on it before the main course is offered (serves them right anyway). In fact, the first 10 minutes are pretty dreadful to be honest. It opens strong enough with a hard rockin' cover of Spooky Tooth's 'Two Time Love' from "The Mirror" album. This is followed by a funky version of The Beatles great composition 'Taxman'. Downright blasphemous if you ask me. And finally we get the awful 'It's Not All Mine', a hideous ballad that represents everything that was wrong with FM radio in 1976. Well, isn't this exciting? I'm thinking sell bin at this point.

Enter nine and a half minute 'Munchkin Men' which introduces us to 35 minutes of great music. It's a completely different album. This track is the highlight and demonstrates to us the band is willing to pull out all the stops, recalling every great Midwestern album from Albatross to Yezda Urfa. Fat Hammond organ solos, shredding guitar, emotional vocals, wild flute, acoustic guitar, a thousand meter changes. It's a heart stopper to be sure. The next 4 tracks continue in this manner, three of which pass the 6 minute mark, and are all clinics in mixing the commercially accessible with an academic approach - and mixed with serious chops. It's what all of us underground heads, if we are entirely honest, wished Journey, Styx or REO Speedwagon to have done in the late 70s. And look, you can forget all the words above and just know this one kicks ass.

List: Post psychedelic, proto progressive with female vocals

2011-07-05T05:00:00.001-05:00

One of the things I like about Rate Your Music, is the ability to put together lists, and add short comments. It's a good way to group various thoughts and ideas. I have a few of these in mind going forward.

Here's my first list. Let me know what you think?

Werwolf - Creation. 1984 Germany

2011-07-04T05:00:00.002-05:00

Werwolf - Creation. 1984 private.

+++ Recommended reissue: 2004 Black Rills. This version has 3 bonus tracks. I still have the Laser's Edge CD from 1992, which is also recommended (though no bonus tracks). The bonus tracks are also on Garden of Delights "Psychedelic Gems 3" compilation, and I own that one as well.

Werwolf are somewhat typical of the early 1980's German symphonic rock scene. Not particularly complex, with emphasis on melody and atmosphere, and some fine guitar work. There's a Christian undertone to the lyrics and they're predictably sung by an airy sounding female. Their music fits squarely with others of its ilk like Eden, Credemus, Rousseau, Rebekka, Amenophis, even Epidaurus. Very pleasant.

Richard Pinhas - L'Ethique. 1982 France

2011-07-03T05:00:00.002-05:00

Richard Pinhas - L'Ethique. 1982 Pulse

+++ Recommended reissue: 1992 Cuneiform. One bonus track and a real goodie.

Unlike the 1970's era Heldon albums, all of which I can unconditionally recommend, the same cannot be said for Pinhas' solo works from the same period. "Rhizosphere" is a static electronic album, "Iceland" is as chilling as its name, whereas "East West" shows Pinhas trying his hand at more commercial material. But two albums stand out: "Chronolyse" (1978) which is perhaps the best of the lot and the album of today's post "L'Ethique".

"L'Ethique" was an excellent way for Pinhas to close shop (and he didn't truly resurrect for at least another 10 years). It's a concise summary of his musical career to that point. The 4 part title track, spread evenly throughout the disc, demonstrates what I think he was trying to do on "East West", except with far better results (and it helps immensely that he buries some of his patented tortured guitar into the mix). The two part 'The Wailing Wall' follows down this trek, but is even more powerful, especially the smoking guitar and sequencer runs of Part 1. 'Melodic Simple Transition' represents his pure electronic side. But best of all, is the return of his King Crimson inspired heavy rock jams, as found on the last two Heldon albums and 'Chronolyse'. These are represented by 'Dedicated to K.C.', 'Belfast' and the bonus track 'Southbound' (taken from the "Perspective" compilation).

This album was my introduction to Pinhas' solo works, and I bought the LP not long after it was released. One of those albums that opened musical doors for me.

Fred - s/t. 1971-1973 USA

2011-07-02T05:00:00.000-05:00

Fred - s/t. 2001 World in Sound. 1971-1973 archival recordings.

For an archival release, this one has an amazing sound, with a sophistication you rarely hear from this period - in the USA that is. The songwriting is first class, as is the harmony work. In fact, some of this reminds me of the absolute best of Crosby, Stills and Nash. These guys were clearly schooled in music academia. They were from Bucknell University in central Pennsylvania, and perhaps not surprisingly, violin is a major part of their repertoire. The violin is definitely from the Appalachian school of folk music, and not a classical riff in sight. When present, it reminds me of those PBS specials on the history of 1800's America. Some vicious fuzz guitar leads are really awe-inspiring in this setting. Interestingly enough, the band has two more archival releases, and they're both in the Mahavishnu Orchestra jazz rock arena. So these guys definitely had chops to go with their songwriting skills. There is no other album like this that I know of anyway. It's post-psych, pre-progressive with a touch of Appalachia rural. I could see this one continuing to grow as the sound is a bit unfamiliar still.

Brainstorm - Second Smile. 1973 Germany

2011-07-01T05:00:00.001-05:00

Brainstorm - Second Smile. 1973 Spiegelei

+++ Recommended reissue: 2000 Garden of Delights. Liner notes, photos, short bonus track.

Having already demonstrated a brilliance on their debut album "Smile Awhile", Brainstorm returned with a superb sophomore effort, only slightly off the pace of their debut. The Canterbury influences are still very much intact, with melodic flute, sax, acoustic guitar and wordless voice offset by jamming fuzz guitar and keyboards. A playful album, but with heavy chops to offset any potential thought that this is somehow "lightweight". The only misstep is the closer 'Marilyn Monroe' (8:40), which mixes in some 50's rock n' roll with a dopey narration bit. Just long enough to keep this from a Hall of Fame rating.

Transit Express – Couleurs Naturelles. 1977 France

2011-06-30T05:00:00.005-05:00

Transit Express – Couleurs Naturelles. 1977 RCA.

+++ Recommended reissue: 2001 Piano Bass Music. Straight reissue with no bonus tracks or liner notes, but GREAT sound.

This is the 3rd and last album from Transit Express. On "Couleurs Naturelles" they are basically a tight fusion group with David Rose's violin in the lead role. But it's not quite that simple - and Transit Express can hardly be accused of being just another late 70s fusion band. No - this is some seriously thought out material, with quite a bit of original arrangements. And there's no denying the Zeuhl undertone here, especially apparent in the grinding bass lines and heavy drum work. Acoustic guitar and violin provide the unique melodic structure. And one shouldn't ignore the blazing electric lead guitar from Christian Leroux either. Highlights include the dramatic "Visite du Manoir" (7:14) and the hauntingly beautiful piano and violin driven "Au Dela du Mirior" (5:54). The album finishes in strong fashion with a variety of very short tracks in the 2 to 3 minute range - all clearly influenced by the Zeuhl fusion school.

You - Laserscape. 1986 Germany

2011-06-28T05:00:00.003-05:00

You - Laserscape. 1986 Racket

Reissue: 1996 Cue (as part of a 5 CD set called "Era").

Very recently I announced on the CDRWL that the first two You albums - "Electric City" and "Time Code" were being reissued by Bureau B. This literally happened within a month after I purchased the long out of print 5 CD set from Cue called "Era". I was only familiar with these first 2 albums, and had Bureau B come along a little sooner, I would have been content to only pick up these CDs, and maybe check out the other discs if and when I had the opportunity. Well, anyway, it was too late so I eventually dived into the third disc "Wonders from the Genetic Factory" (1984). It seemed my worst fears were surfacing. Bouncy beats are the order of the day and I figured that "Le Parc" and "Optical Race" era Tangerine Dream is what I was in store for. I know a lot of electronic music fans love that style, I just don't happen to be one of them. I'm a dyed-in-the-wool old schooler who wants him some "Rubycon"!

About a month later, it was time to tackle the 4th disc "Laserscape" and get it over with. I mean, really, Laserscape? I can already hear the computer generated beats. And the dull picture of a modern Germany city - isn't that exciting? And, perhaps worst of all, the 80's style IBM created computer font that was utilized on the front cover. Oh boy, this is going to suck bad isn't it?

WRONG!!

You's 4th effort is quite possibly one of the best 1980's era electronic albums I've heard. Not saying that's a high bar to hurdle, especially when compared to the great EM albums of the 70s and 90s - but this one is a true shocker. OK, it's not Tangerine Dream's "Logos", but it competes at the top with just about everything else from the decade in this musical genre. For the most part, the computer drum kit was stored in the virtual closet (turned off), and the mellotrons and sequencers are in full force. And two of the tracks feature classical acoustic guitar, which is exactly the kind of variety most EM acts of the 80s didn't strive for. The dark ambient moods recall late 70's Klaus Schulze. This is a very thoughtful work, with many ideas and changes embedded throughout.

So now I'm very glad to own the 5 CD set, and hope that Bureau B reissues this one as well. Not surprisingly I revisited the formerly shunned third You album with a new perspective, and predictably I now have a different viewpoint of it as well.

Arabesque - Tales of Power. 1976-1979 USA

2011-06-25T09:19:00.003-05:00

Arabesque - Tales of Power. 2002 Shroom. 1976-1979 Recordings.

An amazing find from the music archivists at Shroom. It's unfortunate I didn't discover this until now - though I did manage to recently score a CD from an Amazon reseller.

Arabesque were a Pittsburgh area progressive rock band, and these recordings date from 1976-1979. All you have to do is look at the track titles like "An Epic: Krall Mountain" (11:53), "Cobbler's Knob" (11:42), "Arcanum of Atlantis" (10:37) and the associated timings, to know these guys fit squarely within the 1970s over-the-top ultra complex Midwest US progressive aesthetic. Pentwater's "Out of the Abyss" would be a good benchmark, though the recordings here aren't quite ready for prime time. One can only imagine how amazing this would have been with the proper studio time. In fact, in overall sound, complexity and mindset, I was mostly reminded of Skryvania from France. If all this sounds good to you, then Arabesque is a must pick up. I usually have little tolerance for less-than-ideal recording standards, but this one is an easy exception.

CMU - Open Spaces + Space Caberet. 1971, 1973 England

2011-05-24T09:39:00.002-05:00

CMU - Open Spaces. 1971 Transatlantic.
CMU - Space Cabaret. 1973 Transatlantic.

+++ Recommended reissue: 1993 See For Miles (both albums on one CD, with unique liner notes. However it does exclude one 6 minute track from "Open Spaces", and since I haven't heard it I'm not sure of its musical value.) As well, please consider buying the 2008 Esoteric reissues of both of these albums. If I didn't own the SFM reissue already, I would for certain get these, and they'll be the complete albums for both. If I can find them cheap, I'll probably pick up for myself. Their version of Space Cabaret also has two bonus tracks, which I also haven't heard though one is only a single version of one of the duff tracks from Side 1.

Man, where do I start with CMU (Contemporary Music Unit)? Both of these albums are entirely frustrating listens. It's worth noting that other than the husband and wife team of the Odell's (and guitarist Hamlett), these two albums feature two entirely different lineups with different songwriters.

Since I own the See For Miles reissue and they put Space Cabaret first, I'll start with that. All of Side 1 is written by newcomer Richard Joseph. Sad to say, but I don't like any of his songs that much. They are of a pop / folk rock variety, and bear little resemblance to anything else by the band. The short opening title is kind of cool in a bizarre show tune sort of way, but the rest is mediocre songwriting. Side two opens with 'Dreams', and is the only composition written by guitarist Ian Hamlett. A brilliant track, that is highly progressive with a dark undertone. They should have let him write more. Here's where Larraine Odell shows she is a great female singer - in the big leagues with Linda Hoyle. But the real monster of a song is the closer 'Lightshine'. And sure enough, it is the only composition written by Leary Hasson. You may recognize the name Hasson, as he's the grand master of Marsupilami, one of the UMR's all time favorite bands. He joined only for Space Cabaret, and sadly wrote only this one song for them. As I listen to it, the reason I love it so much is it's basically a 10+ minute Marsupilami-styled track. This could have been their 3rd album! Hasson may be one of the best progressive rock songwriters ever. It is absolutely brilliant in every way, from compositional construction to the type of sounds generated (fuzz guitar, crunchy organ). I had goosebumps and hair raising through the whole thing. I'm not sure one modern band has been able to achieve the feelings I'm getting here. And as I write this, it tells me the creative well isn't empty - just no one knows where it is anymore!

Converse to Space Cabaret, Open Spaces starts excellent, with an ideal English styled psych rock track in 'Henry'. 1971 is a little late for the type of psych they're doing here, but it would have been the PERFECT soundtrack to a Swinging' London film like "Otley" or "Blow Up". However, the middle of the album tends to drag, with their interpretation of Pharaoh Sander's 'Japan' being a low point. But, like Space Cabaret, the last two tracks save the day, with the super sweet and exotic 'Mystical Sounds' followed by the weird psych space jazz title track, sounding like Kalacakra and Furekaaben jamming on the MPS label. Apparently the song 'Open Spaces' was commissioned for an interactive sculpture exhibition with a psychedelic light show. Any chance I can go back in time and see this?

Highlights for Space Cabaret: 6. Dream (9:46); 7. Lightshine (10:24)
Highlights for Open Spaces: 1. Henry (4:47); 7. Mystical Sounds (3:17); 8. Open Spaces (11:38)

So what happened to the Odell couple? They went onto to form one of London's most famous early 1980's disco groups in Shakatak (pronounced Shack Attack). There's plenty of vintage YouTube videos of the band out there for you to check out (be sure to find the ones from the 1980s not the modern renditions). Pretty talented bunch but playing the usual vapid music with bad hair. For me, though, it does bring back memories of a time and place and I quite like it. But that's way out of scope for the UMR methinks... If you did check out the videos you may be asking who is that 80's big-haired blond girl? No, that's not Larraine Odell (who doesn't appear to actually have been in the group long, though Roger is indeed the drummer), but rather Jill Saward - of ... ready for this? Fusion Orchestra (another UMR favorite band)!!! Jeesh, who knew?

Gomorrha - I Turned to See Whose Voice it Was. 1972 Germany

2011-05-23T09:43:00.003-05:00

Gomorrha - I Turned to See Whose Voice it Was. 1972 Brain.

+++ Recommended reissue: 1997 Repertoire (unique liner notes, photos)

As for the 3rd album on the legendary Brain label, the very cleverly titled "I Turned to See Whose Voice it Was" (referencing the Biblical story of Lot's wife), I can recommend this one easily. Now this is true hard styled Krautrock. The kind of album where fans of complex progressive rock go scratching their heads wondering what the big deal is. It's underground rock, baby. Nothing more than simple blues rock motifs, gruff vocals, pounding drums, organ shards, and the cherry topping is the long stretches of fuzzy guitar solos, all played at 11 of course. And since it's on Brain, naturally Conny Plank was at the controls, so you can expect all sorts of echoing, phasing, and every other studio trick that just plain sounds cool. So while not necessarily memorable, it is the kind of album that sounds great while playing it. And really, isn't that when it matters most? So strap your seat belt on, plug in your air guitar, and get ready to jam. Best track is 5).

Highlights: 1. Dance on a Volcano (10:01); 2. Opening of the Sealed Book (5:45); 3. Dead Life (3:56); 5. I Try to Change This World (9:31); 6. Tititsh Child (6:57). Yea, pretty much the whole album!

According to the liner notes, this was it for the band, and they quit music and went into the workforce. A pity really.

Body - The Body Album. 1981 England

2011-05-22T09:49:00.002-05:00

Body - The Body Album. 1981 Recession Records.

+++ Recommended reissue: 1997 Ozit (with 4 bonus tracks, a full history, photos - a great reissue). Known technically as "The Body Album Plus". The original CD is from SPM, which I owned for many years before upgrading.

Looking at Gnosis and RYM, I seem to be rating this higher than the norm and I'm not sure why. Body is a really good space rock band that is completely incongruous with anything else coming from England in 1981 (other than maybe the first Twelfth Night album). There's very few references to the early 80's UK synth pop scene though a couple of tunes are musically relevant - 2) 'Brave New World' (4:16) being the most obvious whereas highlighted track 3) 'Lights Out' could have easily been a hit single during that era. Overall I hear elements of "You" era Gong and the obscure Italian group St. Tropez here. The near 15 minute super spaced out song 6) 'Andromeda' is the best song Pink Floyd never made after "Ummagumma" and is the stand out track on the entire album. The bonus tracks are uniformly excellent except for maybe the goofy Falkland Islands political rant - but whatever - it was after all an important topic in the mid 1980's!

Highlights: 1. The Sun Will Never Shine (6:16); 3. Lights Out (3:40); 4. Silver Lady (6:34); 6. Andromeda (14:38); 7. Vacant (1:49); Bonus tracks: 9. T.M. (7:14); 11. The Bardo Experience (5:22); 12. Space Infinity (12:46)

Toshiaki Yokota & The Beat Generation - Flute Adventure. 1971 Japan

2010-12-12T15:16:00.012-06:00

Toshiaki Yokota & The Beat Generation - Flute Adventure. 1971 King.

+++ Recommended reissue: 2007 King.

I first heard about this Japanese album nearly 20 years ago, from a rarities catalog called Turbulence. Some of you old-timers I'm sure recall those great Greg Pawelko lists. (Greg, you still out there man? Get in touch!) Greg stated it reminded him of Yatha Sidhra’s “Meditation Mass” or maybe some other underground Krautrock album from the great Ohr label. Well, I have to tell you folks - that most certainly grabbed my attention!

Except I never saw it listed again.

Anywhere.

Ever.

I began to doubt its existence after while, since no one ever claimed they knew anything about it. Part of the problem was that I had Mr. Yakota's name spelled wrong. I knew he was on the Love Live Life + 1 album (I always presumed he was the "+ 1" but I'm not sure of that). He was also a guest on Kimio Mizutani's excellent "A Path Through Haze" as well as Hiro Yanagida's "Milk Time". He was definitely embedded in the Japanese underground brain-scorched Rat Pack that's for sure.

So you can imagine my shock when I found out that "Flute Adventure" was not only out on CD, but a legitimate press on one of Japan’s major labels: King Records. This revelation of its existence came to me in early 2007 (the CD was officially released on March 7, 2007), to which I couldn't hand my money over fast enough. The funny thing is it was released under their "Jazz Swing" series. Uh, yea... that's what this is! Not.

"Flute Adventure" is exactly as was touted by Greg – a mix of flute based underground acid psych and ethnic woodwind journeys drizzled with a dash of cocktail lounge. So, yes, a little Yatha Sidhra, a little Bjorn J:Son Lindh, some Jeremy Steig, even a smattering of Herbie Mann – all through the Ohr label aesthetic of phased out monsters like Annexus Quam. And it’s a full band effort, not just an album with solo flute. No, this one has plenty of fuzz guitar and tribal percussion to add to the party. Absolutely essential for the freakshow hidden deep within you.

Interesting to note that all the tracks are in either French or Portuguese (thanks Isabel!).

1. Suites "Le Soleil Etait Encore Chaud"
--Clair Deluge
--Cimmerie
--Bal Des Pendus
--Nuit De L'enfer

2. Ofelia
3. Samba De Orfeu
4. Orfeu Negro
5. Reza
--Ending Samba

Macondo - s/t. 1972 USA

2010-11-01T05:00:00.003-05:00

Macondo- s/t. 1972 Atlantic Records (released only in Canada)

+++ Reissue: 2010 Wounded Bird. Wounded Bird are one of the last of the die hard, old school, reissue labels. No information, photos, history, bonus tracks... no nuthin'. But it's a legit reissue taken from the master tapes, which is better than no CD reissue at all. Like those old One Way reissues that everyone is in a hurry to upgrade away from today. I also own the LP and there's no info on it as well. Note the original pressing was Canadian. Not sure what the story behind that is either.

* 1. Do It to Me 2:50
* 2. Why 3:15
3. Sneaking in the Back Door 3:15
4. Wishes 5:00
* 5. Can't Make Love Alone 3:59
* 6. Cayuco 5:10
* 7. Battery 3:34
8. Never Thought I'd See You Gone 3:36
* 9. Almendra 3:42
10. Get It on Girl 3:55

Because this is a bare bones issue (see release info above), I don't know much about Macondo. Reading online, it appears they were from East L.A. and discovered by Sergio Mendes (and it's produced by his company). Macondo were one of many Latin rock groups playing in the early 1970s, hoping to cash in on the success of Santana or even local California favorites like Malo and El Chicano. A typical "one and done" band that time forgot.

Other than 6) and, to a lesser extent 9), Macondo do not really attempt a Santana like sound. Macondo are more a gritty street-level fighting group. Probably 1) and 10) are the most bare knuckle tracks on the album, and are here to let you know Macondo mean business. 2) is the most out of place song here, sounding like a Latin rock version of Crosby Stills and Nash. I found it a highly appealing combination myself. 3) & 4) are rock n' roll throwaways and forced me to deduct a point from the album's score. 5) & 7) are what define Macondo best. A heavy rocking sound, nothing too complicated, with some great grooves and organ/guitar solos. In fact both could be considered a proto-Chango, and for us at UMR there is no better Latin rock album than Chango's debut. 8) is the other odd track out along with 2). There's a distinct late 60s Haight-Ashbury hippy vibe, but with some very interesting heavy Hammond organ leads.

Naked Lunch - s/t. 1969, 1970, 1972 USA

2010-10-31T05:00:00.001-05:00

Naked Lunch - s/t. 2009 World in Sound (LP & CD). 1969-1972 Recordings.

I only have the CD and it's a wonderful issue with a full booklet of liner notes, history and pictures.

* 1. Love is Everywhere 3:10 (1969)
* 2. Changes 5:41 (1969)
3. Endless Night 4:09 (1969)
* 4. Virgin Woman 5:17 (1969)
* 5. Ozone 5:21 (1969)
6. Your Song / Time Trip 6:29 (1970 - live)
* 7. Encore 4:21 (1970 - live)
8. All I Want To Do 3:11 (1972 - Banda de Jesus)
9. Better Days 3:47 (1972 - Banda de Jesus)
* 10. Lovely Day 5:57 (1972 - Banda de Jesus)
* 11. Livin' is Funky 4:50 (1972 - Banda de Jesus)
12. Ozone 4:48 (1970 - live)

San Francisco based Latin rock / horn rock hybrid that is absolutely sublime. No question the Santana influences here, though the band were in reality peers of Carlos rather than followers. The brass rock component gives us a view into another window that wasn't explored much on vinyl during the era, at least when talking Santana inspired acid rock. This may be the closest we ever get to hear the "Chicago meets Santana" sound, such as found on 2), 5) & 7). This band should have been huge, but as happens so often, the breaks just weren't there. 1) features a superb horn break and the melody reminds me of the group The Ides of March. It's exactly the kind of song that was a hit in its era, but for whatever reason, Naked Lunch didn't get their break. 4) displays a frenetic guitar solo. 8) - 11) are from the successor band Banda de Jesus, named after the band leader's surname, is a bit more upbeat, poppy and lyrically more predictable. Perhaps not an ideal addition, though musically not as far removed as it may first appear. The music actually reminds me more of a band like Malo, and features some lively horn breaks such as on 10). The sound quality is noticeably better, especially when the CD backtracks to the live 12), which sounds worse here than had it naturally followed 7).

The Antiques - Sincerely Antique. 1973 USA

2010-10-30T05:00:00.002-05:00

The Antiques - Sincerely Antique. 1973 Funny 502 (Miami, FL)

+++ Reissue: 1994 Funny (Manufactured and distributed by Big World Distributors. Miami, FL). The CD is as bare bones as it gets, with a single plain insert featuring only the front cover. Looks like a bootleg, but given all the distribution info, plus the band's own recognition of it, this is completely legit (and sounds like it's from the master tapes). Not an ideal reissue, but better than nothing. The original vinyl is highly sought after and pretty expensive. I've never seen one personally. Ken grabbed a few of the CDs for sale, and if you see one, be sure to pick it up if you love highly charged Latin rock like Santana.

* 1. Chaucha
2. Don't Let Me Down
* 3. Esta Melodia
* 4. Feel It
* 5. Taboo
* 6. Batuka
7. Dias Como Hoy
* 8. Crumbs Off The Table
9. Tu Me Acostumbraste
** 10. Juntos

If it weren't for Ken Golden over at the Laser's Edge, this is one title I probably would never have heard of. We're both fans of 70's Santana influenced Latin rock, and The Antiques fit squarely in that mold. A mix of kick ass instrumentals, bluesy hard rock workouts with Gregg Rolie like vocals, and soulful Latin pop numbers similar to Malo's more commercial efforts. I like all of it, but the first two categories are more to my taste (naturally enough I guess). Not quite as powerful as Chango or Dakila, but better than many in the genre like Broth, Azteca and Malo themselves. Lots of great organ and loud guitar leads here. 1) is a great instrumental opener and shows that The Antiques mean business, with some killer organ and guitar leads. 2) is a good example of one of their more commercial efforts. It's a bit sappy, but I like it in a Malo sort of way. Like driving in a convertible low rider through East LA (believe it or not, I've actually done just that). 3), 4) & 8) represent the third and final style of the album, where the The Antiques play a harder Santana rock style similar to their first 3 albums. 5) sounds like a track lifted from "Abraxas", and is a killer. 6) is the same tune that opens "Santana III". 7) & 9) are traditional Latin pop songs, that folks from the Old Country are going to be fond of (my wife recognized them as favorites from her Mom's generation). 10) closes the album in an absolute smoking way, similar to Chango really, and makes you wish the whole album would have been like it.

Probe 10 - There is a Universe. 1975 USA

2010-10-29T05:00:00.001-05:00

Probe 10 - There is a Universe. 1975 Blue Universe #PR92673 (Pennsylvania)

NO reissue yet. Featured on the CDRWL. I've heard a couple of the members have surfaced on the internet, but they appear to have no interest in a reissue. Something like this needs to be heard by many more folks! It's a great album for those who appreciate adventurous progressive rock music. In some ways, it's like the 1973 Tom Nehls album from Minnesota. One of those genius high school projects, that captures both time and imagination in a bottle.

Side 1
1. There Is A Universe
2. Invasion Of The Mallaroids:
A.) Invasions
B.) Fields Of Malladroy
C.) A Battle
D.) Dirge
E.) Will There Never Be An End?

Side 2

3. Intergalactic Crossfire
4. Solar Winds
5. To Improvise A Dream
6. Galaxy Five

Wow. Where did this come from (turns out to be the Lehigh Valley area of Pennsylvania)? After some research, I think Probe 10 were (are?) an alien cult who dabbled in time travel. Let's start with the date. Is someone trying to tell me this is from 1975? NO FRIGGIN WAY! Yet on the album they thank Return to Forever, giving credibility to the date, not to mention my theory given the name Return to Forever - think about it ("Damn, Furious is DEEP man, DEEP" - credit Boyz in the Hood). Let me put it this way, so that I'm entirely clear here: Listening to this album will NOT make you think of Return to Forever. Hey, I like RTF as much as the next guy. But don't be thinking incredible chops with a perfect production. No, you better be thinking a low budget garage psych production circa 1968/1969. But this isn't 3 chord basement rock, but rather a highly complex and creative masterpiece. I'd heard about this album for years, from psych collectors PRAISING its virtues. Now that's hardly unusual of course. But Probe 10 possess two qualities that psych collectors absolutely abhor: It's "Progressive rock" and it has trumpet! Horns on a psych album is like banjo and harmonica on a Genesis album. And no psych collector is going on and on about Return to Forever let me assure you of that.

So what the hell is going on here? If you look at the cover, it's pretty obvious they have a clear idea of what American Science Fiction is all about - circa 1936. Dude, closely look at that cover! They can go back in time and they can go forward. As of yet, I really haven't addressed the music, and it's truly something to behold. Trumpet is a dominating instrument here - almost in a Herb Alpert and Tijuana Brass meets Maynard Ferguson sort of way (and we KNOW psych collectors love that! not). I'm reminded of that other anachronistic wonder Oz Knozz, though this dabbling in horn rock only existed on a couple of choice cuts - not all the way through! I guess CA Quintet always got a pass, and apparently so does Probe 10. Let's get serious and talk about the electric guitar - which is COMPLETELY COMPRESSED AND FUZZED TO THE MAXIMUM. Are you kidding me? If you've heard the Plastic Cloud album, or just about any album coming out of psychedelic France, then you know what to expect. and just for good measure they decided to give the same treatment to bass. I'm talking to YOU, Hugh Hopper (rest in peace). The female vocals have that pure innocence vibe, as if they're fresh recruits for the Holy Shree Baba Yaba Krishna Probe Ten Guru. It's the same sweet soul sound one hears on the multitude of Christian (coincidence?) prog rock albums, especially of the German variety (Eden, Credemus, Werwolf, Rebekka, etc...). Or maybe those perfumed gardens of the English countryside, where we find Ithaca, Agincourt, and Stone Angel. And don't forget the jazzy flute over the chaotic drums. 1975? SHUT UP!

Early on, there's a drum piece trying to mask a radio signal, which is obviously trying to reach their home planet. And when the radio broadcast from their home planet starts buzzing back through, you realize this isn't the Twilight Zone anymore, but something VERY REAL. It should scare you. I'm scared. This isn't on CBS, NBC, Fox or ABC. It EXISTS. Any careful scientific study should reveal that "There is a Universe" was recorded in 1975 by people from 1968. They then released the album and went back to 1969 excited to see how much their album would sell 6 years later. It didn't. Had they released it in 2035, then it's audience may be found. Of course they already know that. Do you?

Credits:

# James McGee: Electric Bass, Electric Guitar, Flute, Twelve String Guitar, Remix, Producer, Arrangements
# Jeff Saussier: Trumpet, Coronet
# Bill Jones: Electric Guitar
# Barry L. Bachman: Percussives
# Tom Nicholson: Rhodes Piano
# Brian Gerhab: Flute
# Diane DuBois: Flute, Cover Design
# Samuel Creyer: Flute, Alto Flute
# Mason Profit: Recorders
# Linda Kistler: Violins
# Susan Rudelitch: Vocal
# David Robert Scheirer: Vocal, Babbling Brook, Remix, Producer
# Stirling E. Woodin: Engineer, Remix

"Probe 10 was a group of high school students in the Lehigh Valley area of Pennsylvania. Two schools in particular that I am sure of are Emmaus and Parkland. When the album was released back in 1975, my best friend at the time (Steve Kroninger – now an artist in NYC) was attending Lehigh County Vo-Tech as an art student with either Jim McGee or a friend of Jim’s (Kim). Anyway, it was and still is a great album. This one certainly has passed the test of time. I don’t think any of the people on this album went on to do much more professionally in the music industry. That is a great injustice."

Special thanks to Tigger2 on ebay for all this great info!

Session - Unikuva. 1974 Finland

2010-10-23T05:00:00.004-05:00

Session - Unikuva. 1974 EMI / Odeon

+++ Recommended Reissue: 2010 Rocket Records. To this day, I still don't know anyone who actually owns an original LP (6/25/11 - My friend Heavyrock now has one and I've now seen and held the LP). I only was able to hear it due to a very good friend in Eastern Europe, who made me a CD-R a few years ago. And it seemed I was one of only a handful in the world who had heard it. But that's no longer the case, as the Rocket Records CD is now widely available, and it sounds outstanding (from the master tapes). Probably the most surprising CD reissue in the last few years. English translated liner notes at the bottom.

1. Unikuva 7:19
* 2. Sunny Blue 4:12
* 3. Jäätelöprinsessa 3:37
* 4. Tahdon olla kanssasi 2:43
* 5. Torstin tanssi 3:06
* 6. Persialaisella torilla 6:34
* 7. Syksy 4:32
* 8. Serenadi huomiselle 2:57

My original review from the CDRWL said: "A strong progressive rock album with loud guitar solos, organ, electric piano, horns and most significant, a fiercely driving bass. In fact the bass playing reminds me quite a bit of Trettioariga Kriget's first album. The occasional happy chorus lines call to mind Haikara circa "Geafar" mixed with a quaint late 60s psychedelic style. Lots of cool vocals in Finnish. And there's more than a nod to Wigwam from their "Fairyport" days. For a major label effort, this has to be considered one of the most obscure. I spent time with some big time Finnish collectors about 16 years ago and pretty much heard every progressive album from the country (I can say that with some authority now that so much time has passed). The Scapa Flow and Sepi Kuu titles from the original list are but a mite two examples of that experience. Except no one mentioned this title and I have to wonder if they even knew of it. A seriously obscure album."

One of the typical criticism's leveled at hardcore collectors (like me) is our apparent disregard for the quality of music all for the sake of the rarity itself. I can only speak for myself, but it's something I'm very conscious of when listening to rarities. The CDRWL is filled to the brim with albums that very few have heard, and in many cases I don't think they're very good. And I say so. The old cliche "the albums are rare for a reason" usually does apply. But it doesn't ALWAYS apply, and that's important to understand. Session is one of those albums that makes the search worth it. It really is good, and it remains unclear why it is so rare. I had thought for some time that maybe EMI didn't actually release it, or that they only distributed it. But the liner notes below clearly contradict that notion.

Now part 2 of the same theme: We tend to exaggerate how great something like this is, because it's a new discovery. Imagine yourself as a longtime gold miner. When you first start out, the gold is right there for the taking. It's pure and it's easy to find. But as you keep digging, it gets harder and harder to find anything of merit. But when you do find a decent sized nugget, it's exciting and you want to tell others of what you found deep in the mine. Unfortunately many do not share your enthusiasm - for a variety of reasons (including jealousy, argumentative dispositions, difficult personalities) - but the primary reason (and a very valid one) is that it's not near as great a nugget as the ones you found 20 years ago. That's usually true. So it's all about setting expectations. I cannot stress how important that is when presenting an obscurity like this. Session is an excellent album. What I would call a total classic 12 on Gnosis (or 4.5 stars on Rateyourmusic). But it's not a Hall of Fame 13, 14 or 15 (or perfect 5 stars). And I'm probably going to rate it higher than most people, but to understand that, you must read on.

"Unikuva" is one of those albums that doesn't squarely fit in the progressive rock camp. This isn't a band that was influenced by Yes, Genesis, ELP, etc... It's more a rock oriented effort in an era when interesting instrumental breaks were crowd pleasers, and solos on organ and guitar were expected. So much of the European progressive rock from the 1970s is just this - 70s rock music with a few more ideas than the AM radio bubblegummers. This is true whether we're talking Kalevala, Junipher Greene, Ache, November, or hundreds of others from Scandinavia or elsewhere in Europe.

I think the hardest song to get into is the title track 1). It's definitely one of the most dated of all the songs, with a heritage that sounds more like 1969 than 1974. The organ and bass lines absolutely jam, but the vocal and brass sections are awkward, and very poppy. Technically one could argue this is the most progressive track on the album, especially some of the darker VDGG sax moves that are intertwined throughout. Starting with 2), Session begin to show their more poppy ambitions. I just happen to think they are great songwriters, with melodies that are memorable. And of course, the superb organ and guitar solos with tight sax charts don't hurt either. And this is a good a place as any to talk about the bass player. He is a MONSTER! I know there are many out there who struggle with anything but English vocals, but I cannot imagine this without the Finnish language. It fits so perfectly well and adds a unique dimension. 4) is a kickass rock instrumental, and not commercial at all. 5) is completely the opposite. Even more dated than 1), this track reminds me of Strawberry Alarm Clock circa "Wake Up... It's Tomorrow". And I absolutely adore the pop psych of SAC, so bear that in mind. 6) starts by showing off bassist Hannu Kaikko, and that's a good thing believe me. After which, the group launches into a rather intense, but fun, progressive rock instrumental. 7) may be the best representative of the album as a whole. This would be my pick for one sample on MySpace. 8) is another one of their commercial songs that has a great melody - and I can't help but give it a one star highlight.

Translated liner notes (a HUGE THANKS to Kai from Finland for these).

"Session came together in Kouvola in 1971, out of the ashes of the group Horizon, which had existed for a couple of years. Session initially looked up to The Band and the Allman Brothers Band for inspiration. They took part in the third ever Finnish Rock Championship contest in December 1972 and came third. Session's line-up was Jorma Seppälä (vocals, guitar), Timo Heikkilä (guitar), Hannu Kaikko (bass) and Juha Tykkälä (drums).

Love Records offered the group a recording contract. They released their debut single "Sanni Blue" / "Pääsky" ["the swallow"] in the summer of 1973. Both songs were composed and written by Hannu Kaikko. They also recorded a version of Albert W. Ketelbey's "In a Persian Marker", which appeared on a 1974 Love Records compilation Rock & Roll juhlaa 5. Session began to get gigs and often opened for Wigwam and Hurriganes, among others.

At this stage, Jorma Seppälä left and keyboard-player Osmo Seppälä entered. Juha Tykkälä started singing from behind his drums.

Record companies were hesitant about singing the new line-up. They started recording an album at their own expense at the [famous two-/four-track basement studio] Microvox studio in Lahti. The finished album was their debut Unikuva. EMI finally agreed to release it.

For the album, Session were augmented by saxophonists Ari Pukkila and Mane Hyytiä, and vocalist Leena Wiehn, who appears on the title track.

Unikuva comprises eight songs. The versions "Persialaisella torilla" and "Sanni Blue" (note the changed spelling) are new recordings. EMI released "Torstin tanssi" ["Torsti's dance"] and "Jäätelöprinsessa" ["the ice-cream princess"] as a single in 1974. Hannu Kaikko wrote arranged all songs and wrote all of them, except "Persialaisella torilla". The lyrics were by Juha Tykkälä and Kaikko.

Finnish progressive rock was still commercially viable in 1974, but Unikuva received little attention from the media or the public.

Session's line-up changed rapidly after the album's release. In short time, the group featured guitarists Juha Björninen and Harri Louhensuo, drummer Ari Ahlren and vocalist-guitarist Esa Pajunen. Heikkilä was the only original member in the final line-up. The end came in 1976, when it became commercially untenable to go on.

Session's music began to appear on compilation albums in the 1990s. The 1990 vinyl compilation by Impulse, Kymijokibeats 1965-1981, contains "Tahdon olla kanssasi" ["I wanna be with you"] from Unikuva. The compilation's 1991 sequel contains the Love Record version of "Sanni Blue". "Pääsky" appears on Siboney's 4 CD compilation Anna mulle Lovee from 1994, "Persialaisella torilla" on 1996's Love Proge and "Sanni Blue" on Love Proge 2 in 1998.

The rarity of Unikuva has made it one of the most collectible Finnish records. Copies in good condition have commanded the price of several hundred Euro. This is the first time any of the album tracks have appeared on CD. The CD was mastered from the original master tapes and co-produced by Rocket Records and EMI Finland Ab."

Scapa Flow - Uuteen Aikaan. 1980 Finland

2010-10-22T05:00:00.002-05:00

Scapa Flow - Uuteen Aikaan. 1980 Kompass.

+++ Recommended reissue: 2010 Rocket Records. As stated in the blog for Fantasia: Rocket Records has become the de facto leader in Finnish progressive rock obscurities. They focus on other genres, but fortunately they cover what the UMR loves - and they seem to have no regard for popularity. And, best of all, they do a GREAT JOB at mastering. Only bummer is the lack of bonus tracks. The timings provided are from the CD version as they differ from the LP (and these are also shown on the CD). Translated liner notes in English provided at the bottom.

* 1. Valmiina Heräämään 4:28
2. Salaisuuksien Satiiniverhot 6:17
* 3. Mikä Aamu 6:01
4. Uuteen Aikaan 4:21
5. Tuuleen Kaiverretut Portaat 4:44
* 6. Koi 2:19
* 7. Askel Ylöspäin 6:06

On the surface, Scapa Flow are a folk rock band. But then when you consider the flute, acid guitar leads and organ, it begins to take on a psychedelic folk sound, similar to maybe Carol of Harvest. But that's not quite right either. As you hear the sweet female vocals, one begins to think of the Christian progressive rock movement of Germany in the early 80s - bands like Eden and Credemus. But this isn't a message album, nor Christian - and it's slightly darker in tone. I also tend to think of the airy progressive rock of Sweden's Autumn Breeze, but Scapa Flow are folkier. And there's really no other band from Finland to compare to either. So Scapa Flow, even though they are well within the confines of familiar borders, are somewhat unique. That's a plus.

There are no weak tracks here, and the highlighted ones are only slightly better. One can only wish for more material and extended versions, but it doesn't appear they exist anywhere. 1) is probably the best representative of Scapa Flow's entire sound. If you need Cliff Notes, this would be my pick. 3) & 7) are the most complex and involved of "Uuteen Aikaan"'s seven songs. 6) is my personal favorite from a melody perspective, and I'd love to hear them flesh this out over 7 or 8 minutes.

Translated liner notes (a HUGE thanks to Kai in Finland for these):

"Uuteen aikaan ["into a new age"] from 1980 is one of the most requested Finnish progressive rock CD re-releases. The album received next to no attention on its original release, as did its creator, the group Scapa Flow.

Scapa Flow was formed in Helsinki in 1976. The group traveled down folky and progressive paths, with influences from, among others, Frank Zappa, Jethro Tull and Camel. Live they played mostly their own English-language songs and a couple of Bach covers.

Like other Finnish progressive rock bands in the late 1970s, Scapa Flow were having a hard time with New Wave at the peak of its popularity. However, Chriss Schwindt [one of the original founders of the now bankrupt Love Records] maintained a very liberal release policy with his Kompass Records and he signed Scapa Flow.

Scapa Flow's only album Uuteen aikaan was recorded in spring 1980 and released later that year. Recording line-up comprised Timo Seppänen (guitar), Asko Ahonen (bass), Ismo Järvinen (saxophone, flute), Eero Kolehmainen (keyboards), Leevi Leppänen (drums) and Pia-Maria Noponen (vocals, flute and keyboards). The last three joined the group just before the release. Leppänen replaced earlier drummer Olavi Kyllönen and Kolehmainen Kari Jaksola.

Uuteen aikaan was produced by Lasse Rönkä ja recorded at the Birdland studio in Helsinki. The original English lyrics were translated into Finnish with the help of Seppo Parkkinen and Esko Salervo.

The Back Beat magazine on the group before the album's release: "Scapa Flow's music is carefully composed and thought-out, though solos allow room for some improvisation. Vocals are rather prominent and the group are determined to make their harmonies work. Four of the members sing, so Scapa Flow seem to have a quite versatile range of musical expression."

The Soundi magazine's Hannu Tervaharju reviewed the album. He thought that the lyrics were so fragile and sensitive that they made the love poetry of Tommy Taberman [one of the most popular and syrupy poets at the time] look like letters to a porn magazine [he obviously hadn't paid attention to the title track, then]. Tervaharju wished that Scapa Flow's would make their next album equally beautiful but a little tougher.

The group never got the chance to make a second album, because the record-buying public barely noticed their first. Scapa Flow ended as quietly as they had begun.

After Scapa Flow, Leevi Leppänen has played with the Pekka Pohjola Group, among others, and taught at the Pop-Jazz Conservatory and the Sibelius Academy. Asko Ahonen and Timo Seppänen joined the group Taxi, which released only one single. During the 1980s, Pia-Maria Noponen played with, among others, Limousine, Threshold [semi-progressive electronic rock band who made the album Paradise Now in 1981] and Tavaramarkkinat. She moved to Spain in mid-1980s and died in 1996.

Uuteen aikaan has become a wanted collector's item over the years. A copy in good condition may command a couple of hundred Euro, and copies are far and few between. The CD release is from the original master tapes."

Fantasia - s/t. 1975 Finland

2010-10-20T05:00:00.004-05:00

Fantasia - s/t. 1975 Hi-Hat.

+++ Recommended reissue: 2010 Rocket Records. Rocket Records has become the de facto leader in Finnish progressive rock obscurities. They focus on other genres, but fortunately they cover what the UMR loves - and they seem to have no regard for popularity. And, best of all, they do a GREAT JOB at mastering. I was blown away by how much better Fantasia sounds than the original LP (which I own). Only bummer is the lack of bonus tracks. Liner notes in English translated at the bottom of this post.

1. Pilvien takaa 4:27
* 2. Unikuva 3:36
** 3. Huutokauppa 2:51
** 4. Suihkuliidolla 3:45
5. Hautausmaani rannoilla 3:06
* 6. Tulen pisara 5:49
* 7. Aggressio 2:39
* 8. Härmä jazz 1:27
* 9. Depressio 6:50

Right away, the first thing I noticed is how much better the CD sounds than the original LP (I had the opposite experience recently with Aquarelle's debut from Belle Antique). This version is bringing out the instrumentation as it was meant to be. Guitar and violin are the primary lead soloists, with some tasteful Moog, Rhodes, sax and flute as accompaniment. I want to quote my CDRWL site, as after hearing this album a few times in a row, this still encapsulates my thoughts: "They possess the instrumental dexterity of Finnforest combined with the songwriting talents of the Swedish band Atlas (who arrived later, but I feel there are similarities here). Contains 9 short tracks, each packed with many ideas. Fantasia is not an album that lends itself to easy comparisons, yet it's all vaguely familiar. Definitely Scandinavian from a compositional and melodic perspective." Of course, one cannot ignore Camel or King Crimson here, as no doubt these more familiar bands were an influence on Fantasia, as were the big stars from their homeland: Wigwam.

1), 5) and 6) are the only vocal tracks, and as you can see, two of them are the only ones I didn't star. But the good news is these are still fine progressive rock tracks, with plenty of changes, but not quite up to the same standard as the instrumental ones. 2) recalls the great Secret Oyster, primarily due to the soprano sax holding the melody line, coupled with some delicious wah wah guitar soloing. I feel 3) represents the highlight of the entire album. The deep throbbing bass line, with the melancholic guitar melody, is so very Scandinavian in its approach. Perhaps "Fjärilar I Magen" era Ragnarök is a good reference here. The guitar solo over the wah wah rhythm is exhilarating. It's not even 3 minutes long, but it seems as if they packed 7 minutes of material in there. 4) starts pleasant enough, with some fine synthesizer overlays over the funky rhythm, definitely playing off the ominous atmosphere. And then there's this wicked Italian progressive rock style meter break, which is really surprising in this context. The track closes masterfully with a wonderful violin solo. Another brilliant track. 5) is about the only song on here that could be called a "throwaway", and even at that, it's pretty good. 6) starts off with that dark narrative singing that is popular in Finland (just listen to Nimbus "Obus" sometime). This is followed by an outstanding Rhodes break which leads to some more excellent guitar soloing. Closes somewhat similar to the opening. A fine work, and proves Fantasia could work a vocal tune into their repertoire without ruining the song. 7) & 8) are two short instrumentals, that are both highly melodic and rock hard. Would love to here both of these stretched out a few minutes more each. 9) is just that - an extended instrumental showing that Fantasia is not just content to sit on a groove and solo endlessly, but rather they pack many ideas and textures into one song. And they are all related musically, not a pile of disparate ideas that go nowhere. Splendid album!

Translation of the booklet kindly provided by Kai from Finland. Thanks a million for this Kai!

"Fantasia's roots lie with the St. Marcus Blues Band, which was formed in Pietarsaari in 1967. As their music became more experimental, the group changed their name to Fantasia in 1973. Bassist Markku Lönngren took the name from Amazing Blondel's 1971 album Fantasia Lindum. Early Fantasia described their music as a mixture of hard rock and progressive rock. To prove their commitment, the band members told that they had invested FIM 40 000 into musical equipment and were practicing almost every night.

Early Fantasia comprised Hannu Lindblom (vocals, guitar), Jukka Halttunen (guitar), Markku Lönngren (bass), Paavo Osola (keyboards) and Karl-Erik Rönngård (drums). However, musical differences caused rifts, and in 1973 only Lindblom and Rönngård were left. Fantasia became a quartet with the addition of Harri Piha (bass) and Roul Helantie (keyboards, guitar, violin).

The new Fantasia took part in the Finnish Rock Championship contest, which was held at Kulttuuritalo in Helsinki in December 1974. The decision to take part had not been unanimous. It was only reached after some members threatened to leave the group if Fantasia skipped the contest.

It was a good move in retrospect, for the jury liked Fantasia's style and the group won the contest. Their poor gig situation improved considerably as a result. In 1975 they were signed by Hi-Hat, a new record company set up by Finnlevy. [Finnlevy was one of the few large record companies dominating Finnish record industry at the time. Hi-Hat was their attempt to capture a piece of the young, progressive music market, which had been largely Love Records' domain.]

Fantasia's eponymous album came out in late 1975, as the new company's seventh LP release. The album was produced by [Wigwam drummer] Ronnie Österberg and Mikael Wiik. It was recorded at Finnlevy's studio in Helsinki. Additional musicians were Mikael Wiik, who played the guitar solo on "Depressio", and saxophonist Pekka Pöyry [of Tasavallan Presidentti, among others].

University of Turku's student magazine described the album: "Influenced by Wigwam, but with an honest and idiomatic approach. Fantasia want to create impressions, raise social awareness and make people listen and develop their relationship to music."

Wigwam comparisons were unavoidable. Waldemar Wallenius [one of the founding fathers of Finnish independent rock journalism] wrote in the Soundi magazine: "Some nitwit may fault the album for being too monotonous, but I for one enjoy its cohesion and harmoniousness. Some other blockhead probably spots clear Wigwam or even Tabula Rasa influences, which again I don't mind, because the album sounds pure and pleasing - and not too derivative of anyone. Yet another lamebrain might take offense on the lyrics, which may feel a bit pretentious. But the lyrics are mercifully few and they don't call much attention to themselves. And while not fantastic, they are not too bad."

Fantasia sold about 2000 copies, which fell well short of what the record company had expected from this rising new group. Hi-Hat may have been open-minded and ambitious in signing new artists, but the company was less patient about the artists' commercial success. Hence Fantasia and most of the other early signings never got to make a second album. After 1976 Hi-Hat's activity was heavily curtailed and the company soon shrunk into Finnlevy's sub-label that had to heavily rationalize its release policy.

With the album's failure and the public's ebbing interest in progressive rock, Fantasia's line-up began to change. First to leave was bassist Harri Piha. Roul Helantie took over bass duties, while keyboard player Paavo Osala re-joined the band.

In 1976 Fantasia toured the Soviet Union, with concerts in Leningrad, Moscow and Riga. Afterwards their line-up went into flux, while their music allegedly became more danceable. After various stylistic and line-up changes, Fantasia was buried at the turn of the decade and the St. Marcus Blues Band resurrected. The group is still touring and recording music today, but that is a different story."

Time - s/t. 1975 England

2010-10-15T05:00:00.002-05:00

Time - s/t. 1975 Buk (1975 England and Germany)

Probably the highest profile UK album still on my CD Reissue Wishlist. I'm truly surprised this album hasn't been reissued to date. There isn't even a bootleg (and no way in hell am I encouraging that - but worth noting all the same). I just bought the original LP (UK version) and thus thought I'd share a quick review. Very nice 70s vintage black and white cover. This one is a no-brainer for Esoteric to reissue.

* 1. Shady Lady 4.25
* 2. Turn Around 6.30
* 3. Violence 3.20
* 4. Yesterday, Today, Tomorrow 4.25
* 5. Dragonfly 8.09
6. Liar 2.53
7. Hideout 1.25
* 8. Steal Away 5.05

Time were formed by ex Spontaneous Combustion members, and is considerably more complex than their former group. Flash, that wonderful post-Yes band that Peter Banks formed, is the most obvious influence. Especially in the vocal department. And the guitars have that certain raw chord sound with runny clean solos that Banks seemed to favor. But in reality Time is even more complex than that. On the instrumental sections (which are plentiful), they are like a distilled Yes circa "Relayer" without all the hoity-toity bits (and yea, I admit to liking all that extra Yes fluff too). But if you're in a hurry, and don't have time for a sit down meal, then Time is some really good fast food. Non-chain, healthy, and thoughtful - but quick counter service with no waiting. While not quite as off-the-rails-nutty, the closest comparison to Time I can make is Yezda Urfa's "Boris", another 1975 wonder. Which tells me some musicians were sitting around the world, after digesting "Tales From Topographic Oceans" and "Relayer", saying "I like Twinkies, but more the cream filling than the sponge part".

Perhaps a bit useless to have my star system in place here. I pretty much love every track on the album. Side 1 is definitely stronger, perhaps because the sound is fresher to my ears, and I've grown accustomed by Side 2. 1) and 2) pretty much sums up all you need to know if you're really in a drive-through hurry. Counterpoint is one of Time's favorite tools to utilize and you will hear it often. I happen to love counterpoint, so that may explain why I score Time higher than others. I also like a good woody bass sound and Time also plants that wherever they can. Plenty of keyboards and tuned percussion also in the mix. And vocals are also played off of each other, ala Gentle Giant (another obvious influence at play here). Highly recommended.

Ibis - Sun Supreme. 1974 Italy

2010-09-20T05:00:00.005-05:00

Ibis - Sun Supreme. 1974 Polydor

Reissue LP: 1982 Polydor (Japan)

+++ Recommended reissue: 2010 Universal (Japan mini-LP). I've had an original LP of this for many years - finding a new copy at a record convention in the late 1980's. It's a single sleeve but with a wonderful textured cover. As I look over the CD issues, I'm surprised to see it was never reissued legit before 2001 - especially when considering that the self-titled second was put out by Mellow in 1992 and "Canti d'Innocenza, Canti d'Esperienza" came out in 1991 from Fonit-Cetra (Vinyl Magic). But then again, I can't think of any issues from the 1990s either. I originally picked up a copy of the 2001 mini-LP but was shocked (really, shocked) that the cover wasn't textured so I sent it back. The new 2010 mini-LP version fixes that issue, and so I now have a CD to supplement the LP. To the best of my knowledge, "Sun Supreme" hasn't been reissued on vinyl in recent years.

Divine Mountain / Journey of Life

1. Part 1 - Vision of Majesty 3:42

2. Part 2 - Travelling the Spectrum of the Soul: 5:59
a. Flow of the River of the Mind
b. A Magical Cavern
c. On the Edge of it All

3. Part 3 - The Valley of Mists: 5:00
a. Song of the Valley Deep
b. The Elements Clash - Storm of Life

4. Part 4 - Vision Fulfilled 4:33
a. Jungle - Rythm Colour (Steam, Sweet, Pulse, Throb, Vibrate)
b. Over the Crest

----

5. Divinity
a. Part 1 4:00
b. Part 2 7:12
c. Part 3 6:06

Ibis were made up of ex-New Trolls members (and a former drummer from Atomic Rooster - and whose name is not Carl Palmer) and this was their debut album (though technically the first album was under the name Nico, Gianni, Frank, Maurizio). It was far more geared towards symphonic progressive rock, heavily influenced by Yes, especially when compared against their second, more straightforward, hard rock album.

So you'll notice I didn't highlight any tracks for "Sun Supreme". Honestly, I'm amazed this album gets the praise it does, especially since it walks right into the usual "prog is pretentious" argument (an argument that I absolutely disagree with, even here at its most obvious). And yet this album - of all albums - somehow gets a pass from the critics. For starters this has nothing to do with the Italian progressive rock movement (indigenous melodies are missing, English vocals, really everything about what is now called RPI - is not here). Not that one should get automatic demerits for that, but it is worth mentioning given the time and place. What we have with "Sun Supreme" is a huge heaping mess of Yes. And I mean mess as in "Tales From Topographic Oceans" Yes (disclaimer: I really like TFTO - but not necessarily going to fawn over a copycat attempt that falls short). From the song titles to the "higher key" religious aspects (oh hello Satguru Maharaji and his followers: Did you like this album dedicated to you? How come nothing like this from the home country, anyway?). I should offer minuses too, since 5b) is nothing but a very long, and very dull, drum solo. That's 7 minutes of boredom right there. God, even Yes managed to avoid that on a double album (percussion pieces do not equal drum solos for the first smart ass who points it out) - at least in the studio.

So it seems I'm really down on "Sun Supreme" then? Well, no, that's not true. I do like it - as I do appreciate a good Yes imitation (hell, I adore Druid's "Towards the Sun"). It's hardly a style that is easy to emulate, and it's good entertainment taken on its own if you can ignore the influences. But it's barely above the "I'll keep it level". I'm loathe to use terms like overrated, since albums like this are barely rated in the first place (it's not like the NY Times was pushing this down everyone's throat as the next big thing). But I have to say that I disagree with those that claim this is a classic work. It's not a classic by my estimation. Unless you want a somewhat tepid response to Yes' "Tales From Topographic Oceans". It screams New Trolls cash-in. Probably because that is exactly what it is. Buy it only if you can't get enough of that sound. And perhaps I fall into that category. I can't help it.

Aquarelle - Sous un Arbre. 1978 Canada

2010-09-19T05:00:00.007-05:00

Aquarelle - Sous un Arbre. 1978 Atlantic.

+++ Reissue: 2010 Belle Antique (Japan mini). Found a sealed LP in a Kansas City record store back in 1991. Ah, the days when the classic Midwest cities all had cool record stores with import gems like this - all for under $10. KC was one of the great record store towns, with many excellent stores in the Westport district alone. No more of course. I miss those days of traveling to cities for the sole purpose of buying records (and eating the local cuisine and drinking the local swill - fortunately we can still do this!). Oh sure, some of these stores still exist, but are a mere skeleton of what they once were. Anyway, I will be keeping the LP, especially given that this CD is taken from vinyl. Until 2010, no other LP or CD presses existed. So I was much surprised when I heard that Belle Antique managed to obtain the licenses for both of the Aquarelle albums. I know there had been some talk of ProgQuebec reissuing these, and they still might. But I decided not to wait and pulled the trigger for the higher priced mini-LP. This isn't the type of album I typically collect in this format (single sleeve, rather boring cover), but I'm not chancing the fact it may never come out legitimately again. Not the kind of title that is likely to sell much anyway. Also, note that this CD is taken from vinyl (licensed from main songwriter and keyboardist Pierre Lescaut). Because of this, I think I'll wait if PQ will reissue the live album. If someone finds the master tapes, I will consider replacing this CD as well.

My original review for both Aquarelle albums can be found here on Gnosis.

* 1. La Magie des Sons 6:40
** 2. Francoise 4:54
3. Bridge 6:22
* 4. Sous un Arbre 4:38
* 5. Aquarelle (Part 1,2,3) 8:22
** 6. Volupte 4:37
7. Esperanto 5:53

As stated in the Gnosis review above, Aquarelle's debut is far from a typical jazz fusion album. In the late 1970's, there were literally hundreds of albums that featured musicians showing off their technical chops. They couldn't help but parade their considerable talent on the latest synthesizer, while trading solos back and forth with the next Allan Holdsworth, Al Di Meola or Bill Connors. To many listeners, including yours truly, this was met with a big yawn. Might be great listening to those wanting to learn the trade, or were participants in the scene, but I want something more. Like songs for example. Or compositions. And Aquarelle delivers on both fronts. They are the antithesis to the normal fare of the era. As I review, I begin to think of band leader and primary composer Pierre Lescaut as some sort of genius. It's the blending of the instruments that make the album so special. Violin, flute, sax, female wordless voice, and mostly Pierre's piano that stand out, but in ensemble form. Guitar, bass and drums give it the rock feeling they were striving for, but only that - as an underlying structure.

Despite the profound statements from the last paragraph, I wouldn't say it's all that obvious on a casual listen. Read some reviews online and you'll see terms like "dated fusion", or "nothing out of the ordinary". Indeed, it is just that - out of the ordinary. I didn't recognize it myself for many years. In fact, not until the Gnosis review some 15 years after initial purchase, did I register in my memory banks that this wasn't a garden variety late 70's Quebec fusion band.

It was only for 1) that I recalled anything different. A smoking violin led piece, and what seemed to me to be the most progressive song on the album. Today, I scratch my head on why I would think that. Perhaps it's the most obvious song on the album. But on multiple spins, it's really 4) and 5) that are the truly progressive oriented numbers. 4) takes a bit to get going, but features a wonderful mid-track break with a complex meter and some fine rhythm guitar work. 5) gives off more than a whiff of classical chamber music all within the context of jazz and rock. Splendid really. It's only on 3) and closer 7) that there are any hints of the funky fusion of the day. Even still, these are far from cheap skeletons on which to solo endlessly on. And both are fine tracks, if only less exceptional than the others.

That leaves the two brilliant pieces in my estimation. 2) features a stunning flute melody, and is as happy a song as you will ever hear. The Caribbean festival bit on the last third of the track embodies the spirit of the mood, while adding a progressive twist to an already great song. But it's 6) that wins the grand prize. Words cannot describe the stunning beauty of this composition. How could I not hear it 20 years ago? Or even 4 years ago on a deep dive review for Gnosis? It's the kind of mid-album piece one would discover on an Italian progressive rock album. The moment that hits you and you can only utter "it's brilliant!". Ah, the beauty of discovering what you already have.

Agitation Free - Last. 1971-1974 Germany

2010-09-18T05:00:00.006-05:00

Agitation Free - Last. 1976 Barclay.

+++ Recommended reissues: 2008 SPV / Revisited; 2010 Belle Antique (Japan mini-LP). Unlike the first two albums, there was no second press on IRI nor did Amber Soundroom bother to reissue it. The only LP to date is the original. I bought the Spalax CD the minute it came out (1992), and had been satisfied with it. However, a good friend of this site told me that the SPV version is far superior in sound and I had planned to upgrade to that version. However, just like the other two Agitation Free albums, the Belle Antique mini-LP is taken from the SPV remaster, and so I splurged for that instead and the Spalax CD now sits in the sell bin. Only misstep from Marquee is the missing of English liner notes as is the case with most of their reissues.

1. Soundpool 5:50
* 2. Laila II 16:52
* 3. Looping IV 22:19
* 4. Schwingspule 10:59 (bonus track)

When I first started collecting progressive rock in earnest around 1985 or so, Agitation Free's "Last" was considered one of the holy grails. In those days, even rare albums cost about $40 or $50 - and "Last" was a whopping $75! Way beyond my budget (budget equaling # of skipped meals back then). Perhaps because it was an afterthought release, not even available in their home country, that the album was thought to be so rare (not to mention original sales were probably weak). All things considered, "Last" really hasn't appreciated much and the first two albums actually trade for more nowadays. For years, I hobbled along with a cassette dub, until the Spalax CD showed up. While I was originally disappointed with "2nd", I found "Last" more to my liking, at least originally. Stylistically it ties closer to "Malesch" due to the experimentation though minus the ethnic influences, sadly enough.

Though not released until 1976, "Last" is in reality an archival release, more similar to the type of albums that we are seeing coming to light for the first time today. 1) and 2) are from a live concert circa March, 1973, while 3) is a studio recording from Feb, 1974. Bonus track 4) is a live recording from December of 1971.

1) is yet another version of 'Rücksturz' from "Malesch", this time hidden behind a raft full of electronics. As if to prove that Agitation Free's two best melodies were 'Rücksturz' and 'Laila' (from "2nd"), both make their appearance here and 2) has the most extended version of the classic piece. And it's brilliant with plenty of references to "Malesch" blended into the psychedelic jamming. At 17 minutes, there's a little bit of aimless experimentation to endure, but overall still a great variation of the classic tune. 3) is yet another new chapter in the Agitation Free book. Just as "2nd" finished with two distinct tracks of innovation, thus so does the 1974 version of the band. For those who would like to hear another possible variation on the 1971 Tangerine Dream "Alpha Centauri" sound, then 'Looping IV' is for you. This track goes WAY OUT there, with plenty of echoed organ, bass, drums, electronics, voices, guitars - all, naturally enough, looped over and over for a mesmerizing psychedelic experience. One can only hope there is far more Agitation Free sitting in the vaults (not counting the already excellent "At the Cliffs of River Rhine" and "Fragments" albums). An Ohr or Kosmische classic that never was released. 4) is a great find and my favorite of the bonus tracks that SPV originally pressed across the three original albums. A fitting followup to the experimental 3) but with a closing psychedelic guitar jam that recalls "Malesch" especially on its bonus track. If only high quality tape versions of this era of the band existed!

Agitation Free - 2nd. 1973 Germany

2010-09-17T05:00:00.006-05:00

Agitation Free - 2nd. 1973 Vertigo

Second press LP: 1979 IRI (France)

LP reissue: 2004 Amber Soundroom

+++ Recommended reissues: 2002 Garden of Delights; 2008 SPV / Revisited; 2010 Belle Antique (Japan mini-LP). One of those classic Krautrock albums where I never owned the original. It's one I should have bought years ago, but just let it slip by, content with the second press LP or later the CD. Now it's very expensive, but I'll probably still buy it. It's worth having an original of. The IRI press is a cheap single sleeve, with an altered cover. This is the first copy I owned. There's nothing wrong with the sound, but as soon as the CD came out, this went right into the sell bin. As with "Malesch", the high quality, but now defunct Amber Soundroom, also released this - and would be the recommended and cheaper alternative to the original (though I probably won't take my own advice and will pay too much for an original). As for CD's, I will repeat almost verbatim what I said for "Malesch": I bought the Spalax version immediately upon release (1992) and replaced the LP. As is usual with the label, the packaging is bare bones, especially their earlier issues. No doubt the GoD version is far superior, especially in the packaging department, but I never upgraded and haven't seen one myself. The SPV/Revisited version is considered by many to be the best sounding and was the first to feature a bonus track. Because of this, I was pleased to learn that the Japanese mini-LP version on Belle Antique was taken from the same mastering including the bonus. So with that, I finally put the Spalax CD in the sell bin and upgraded. One of those albums that is essential to have in this format - if you love packaging as much as I do. The only unfortunate aspect, and this is typical of Marquee, is they leave out the crucial English language history that both GoD and SPV provided.

1. First Communication 8:18
2. Dialogue and Random 2:00
* 3. Laila, Part I 1:32
** 4. Laila, Part II 6:45
*5. In the Silence of the Morning Sunrise 6:29
*6. A Quiet Walk 9:11
a. Listening
b. Two - Not of the Same Kind
**7. Haunted Island 7:10
* 8. Laila 74 7:42 (bonus track)

After discovering "Malesch", naturally "2nd" immediately became my top want back in 1985. When I eventually did land a copy a couple of years later, which was the inferior French IRI LP, I was mightily disappointed. Mainly because "2nd" wasn't "Malesch". There are no Middle Eastern themes or even an overt psychedelic feeling to relate to. Over time, I've come to terms with "2nd", and now view the album as a total classic. It's closer to the "US west coast" 1960's sound, and is somewhat of an oddity in Krautrock circles.

1) defines the new ethos of Agitation Free. One that is considerably looser, more laid back and well, free. Generally this is where the West Coast term is applied. The late 1960's psychedelic scene of the San Francisco Bay Area as defined by The Grateful Dead and Quicksilver Messenger Service. A pleasant guitar lead jam, if not exactly a great way to state "we're back!". 2) recalls the experimental aspects of 'Pulse' from "Malesch" and is somewhat of a waste of time. It's 3) where things become interesting, with a fine loud guitar solo amongst the somewhat peaceful surroundings. 4) has a killer drum and bass line, followed by a stunning acid guitar melody, certainly Agitation Free's most recognized after 'Rücksturz' from their debut. The return of the swirling organ from the "Malesch" era is also much welcome. A stone classic of a song. 5) brings us another strong A. Free melody, in a more laid back setting that typifies "2nd". A sweet, serene song. 6) is the odd bird in Agitation Free's catalog, sounding like a lost outtake from an Ohr label recording session. Part one's 'Listening' is an exercise in soundscape and atmosphere. With echoed found sounds, and layers of background organ, the feel is one of meditation and reflection. I think if there wasn't a payoff at the end, this could be seen as somewhat boring in the same way as 2). But at roughly the 5 minute mark I suspect we hit the 'Not of the Same Kind' portion of the track, which provides the climax to the plot set out in part one. Acoustic guitar strumming lay the bed of rice for the main course - some mighty fine electric guitar runs (with studio effects) and percussion. Not an immediately likable song, but one whose hidden qualities come after multiple listens. If 6) pulls us out of the creative station, then 7) is off the rails. And it's a stunner. Here we get Agitation Free in hard blues rock territory complete with narrative vocals, some treated with a Leslie ala Brainticket's "Cottonwood Hill" and some really mean fuzz guitar solos. A closer that is at complete odds with anything else on this album, or even "Malesch". A whole album of this style would have been amazing to behold. Bonus track 8) takes us back to "2nd"'s finest melody - here in a live setting (decent quality) where the structure is looser and the jam more intense. An awesome addition to an already great album.

Agitation Free - Malesch. 1972 Germany

2010-09-16T05:00:00.002-05:00

Agitation Free - Malesch. 1972 Vertigo

Second press LP: 1979 IRI (France)

LP reissue: 2004 Amber Soundroom

+++ Recommended reissues: 2002 Garden of Delights; 2008 SPV / Revisited; 2010 Belle Antique (Japan mini-LP) I first discovered Agitation Free by accident in the mid 1980s. One of those albums I bought because it looked cool and was cheap. It had such a profound impact on me at the time, that it was one of those albums that helped shape my musical tastes for the future. To this day, the original LP that I found back then is one of my collection's treasures.The IRI presses out of France were cheaply made single covers. But for most folks, it was the only affordable option in the 1970s & 80s. The high quality, but now defunct Amber Soundroom label, also released this - and would be the recommended and cheaper alternative to the original. As for CD's, I bought the Spalax version immediately upon release for playing purposes (1992). As is usual with the label, the packaging is bare bones, especially their earlier issues. No doubt the GoD version is far superior, especially in the packaging department, but I never upgraded and haven't seen one myself. The SPV/Revisited version is considered by many to be the best sounding and was the first to feature a bonus track. Because of this, I was pleased to learn that the Japanese mini-LP version on Belle Antique was taken from the same mastering including the bonus. So with that, I finally put the Spalax CD in the sell bin and upgraded. One of those albums that is essential to have in this format - if you love packaging as much as I do. The only unfortunate aspect, and this is typical of Marquee, is they leave out the crucial English language history that both GoD and SPV provided.

* 1. You Play for Us Today 6:08
** 2. Sahara City 7:42
** 3. Ala Tul 4:50
4. Pulse 4:43
5. Khan El Khalili 5:30
** 6. Malesch 8:10
** 7. Rücksturz 2:09
* 8. Music Factory Live 15:15 (bonus track)

1) starts with "I fly the airplane, and you play for us, indeed?". And with that field recording of the small aircraft pilot, an organ overlay is applied with haunting voice and the bass starts to rumble a rhythm. A synthesizer floats a melody on top and the first sounds of acid guitar enter in, while pounding drums and the percussion adds an exotic air. The organ begins to swirl, the intensity builds, and the guitar goes into a frenzied but melodic solo. After what seems like only 2 minutes, but is actually well over 6, the field recording of the pilot's intercom interjects with spoken Arabic and leads to... 2) Recordings of a market in Egypt with percussion and wind instruments. This takes us back to the studio and a percussive synthesized sound. Haunting winds of sound with fuzz box guitar leads, while pounding symbols deliver you to the desert of unknown myths. After returning from the abyss, the band congeals into an incredible jam with superb guitar and bass jamming. By the time we get to 3), if you're not completely immersed into the Sahara desert mystique of this album, there's probably little chance it will resonate at this point. 'Ala Tul' is what the album is about: Atmosphere, intensity, mystery, exoticism, experimental, intrigue. It's another world, and one that wasn't explored prior, or hasn't been since. 4) demonstrates Agitation Free at their most experimental, though the piece begins to take form in the latter half in the classic Krautrock jam tradition. 5) brings us back to the Middle East, though for most of the piece, the emphasis is a light breezy instrumental, and gives us the best clue of where Agitation Free would go for their next album "2nd". 6) is the perfect encapsulation of all that has proceeded it. If there's one piece that defines the album, it is indeed the title track itself. This leads to 7) and the most memorable piece on the album, with a striking melody that was the centerpiece to many of their live jams during this era. This can be best demonstrated by the 15 minute bonus track 8), a stellar piece of Krautrock experimentalism mixed with psychedelic jamming. The kind of music that has your imagination wandering to some obscure artist club in Berlin circa 1972 and wishing you could transport back. This issue also features a short 6 minute video with yet another variation of the 7) theme. Video quality will remind you of the home reels of your youth, but it only adds to the aura.

V.A. - Umsonst und Draussen - Porta Westvlothica 1978. 1978 Germany

2010-09-02T05:00:00.008-05:00

1. Munju - I Feel So Blue Without You
2. Out of Focus - Sommer '58
3. Real Ax Band - Never Never Again
4. Good Food - Take It
5. Embryo - Wir sind alle politische Gefangene
6. Aera - Herr Siebert & die sieben Siebe
7. Mathea Wlömsk - Bahama Mama
8. High Crack - Anina
9. Porta Westfalica Allstars - Airto
10. Das Dritte Ohr - Don't Use Your Spray
11. Hammerfest - Wilde Zeit
12. Molle - Bildertraum
13. Checkpoint Charlie - Smogalarm
14. Porta Westfalica Allstars - Keine Macht für Niemand
15. Spacebox - Tape Talk
16. Julius Schittenhelm - Er dreht sich hinein ins Hirn
17. Airbreak - Crossover
18. Missus Beastly - Porta Erotica
19. Brühwarm - Tango
20. Brühwarm - Fummelrock

1) No better way to open than with some electric sax in the Xhol Caravan, "Hot Rats" era Zappa sort of way. Excellent opener. This track came from Munju's "Moon You" album.

2) Out of Focus make their first festival appearance. One of the legendary bands from the early Krautrock era of 1970-1974. Out of Focus proved to have quite a bit of archival material as they have not only one, but two full CDs of studio music plus one live concert. But none of it extends as far as 1978, where the band was about to become Kontrast. And here they prove to be the veterans they are, with a superb piece, complete with a beautiful melody driven by the flute. I want to hear more of Out of Focus from this era!

3) is an unreleased track by the Embryo offshoot group Real Ax Band. This one is a slow burn, with a deep funk groove and wah wah guitar solos. The Barry White vocal attempt was.... not a good idea. Where's Ms. Archer? Vocals aside, I'd love to hear more of this session.

4) Don't know who Good Food is, but this is a really swell primarily instrumental Latin inspired fusion piece driven by some great rhythm work and Rhodes piano leads the solo and melody lines. At 7 minutes, this is also the longest piece on the entire 2 LP set. Definitely a band I'd like to know more about.

5) Schneeball/April heroes Embryo weigh in with a deep funk piece, also a bit of a slow burn similar to the Real Ax Band, with almost scat like vocals. A different sound from Embryo, but one I found highly appealing. Amazing guitar solo from Bunka. Maybe I'd be interested in Garden of Delights releasing this concert first - rather the '77 one!

6) Well, it was about time Aera showed up! Another "name" band, and by 1978, a group who already had a couple of albums under their belt. Oddly, they only featured a primarily percussion piece (excepting a few ensemble seconds at the end). Hardly representative of the band, who are fine progenitors of jazz fusion.

7) Mathea Wlömsk is another new name for me. I suppose it should be no surprise they are yet another fusion band. The driving bass and phased guitar solos recall the excellent obscure group Mosaik. I definitely want to hear more from this band!

8) Yet again, we hear a new group - High Crack. They are a bit more in the typical funky fusion genre that was all the rage in Germany at this time. A bit more generic than their festival peers - at least on this one piece. I'd still like to hear what else they have to offer.

10) Das Dritte Ohr have a few albums, of which I know nothing about. Here they provide an old time got-the-blues-real-bad-oh-yea-I-do complete with amplified harmonica. It's awful... next!

11) Hammerfest, as mentioned before, are one of the sponsors of the festival - so they of course get their space. They're a bit eclectic, and here they offer yet another got-the-blues-real-bad track - though at a faster pace than Das Dritte Ohr. OK, so they're a mover and shaker of the scene, what are you going to do? Next...

12) And here we have Molle, who started the 1977 album off inauspiciously. Contrary to that piece, the music here is quite good, dominated by a nice flute line and an excellent guitar solo. There's quite a bit of German vocals, which I suspect is politically motivated, but not sure.

13) And now for Germany's most prolific polit-rocker Checkpoint Charlie. Apparently an hilarious song about ecological destruction. And what says funny like left wing political Germans? OK, no fair, I'm not German (well, I am actually - but 3rd generation American...), so let's move on... next!

9) & 14) The Porta All-Stars is obviously a collective gathered for the concert. On the first track they present a sort of acoustic blues, with some nice flute, acoustic guitar and wordless voice. No Power for Nobody is what the second title translates to. IIRC, Ton Steine Scherben also had an album by that name. Yea, baby, ANARCHY RULES! Apparently we're in the midst of the hardcore polit-rock section of the LP. Next!

15) Uli Trepte's Spacebox is a big fave with my more avant minded music friends. For me, they leave a lot be desired. 'Tape Talk' is a track from their self-titled 1979 album. Pretty much mindless drivel as far as I'm concerned. OK, NEXT!!!

16) Producer and folk busker Schittenhelm pushed through another irrelevant track. NEXT!!

17) OK, back on solid ground with Airbreak, a funky fusion band with wah wah rhythm guitar driving the sax & guitar leads. A typical tropical and sunny sound dominates here. Probably not a group that would be overly special on LP, though I'd be interested in hearing more anyway. Not that much different than the High Crack group earlier in the album.

18) UMR's favorite Missus Beastly contributes an unreleased track, that if we were to go by name only would appear to be background music for a, ahem, "blue" film. In reality it's pretty much in the genre of all of MB's work, with a solid groove and great instrumentals provided by electric piano, guitar and flute. Definitely one of the highlight of the entire set.

19) The less said about Brühwarm the better.

Despite a great opening, the festival has clearly taken a turn for the political, at least on vinyl. My least favorite set of the 1975-1978 festivals.

Unfortunately this was the end of the classic era of the Umsonst and Draussen festivals on vinyl. The festival itself continues on to this day. There was one more album released in 1983, but it's a huge drop off in quality. Not only musically, at least for fans of the classic Kraut fusion sound like myself, but primarily the sound quality is awful. Which seems inexcusable, given the date - but alas it is what it is.

V.A. - Umsonst und Draussen - Vlotho '77. 1977 Germany

2010-09-01T05:00:00.011-05:00

1. Molle - The Joker 4:30
2. Hammerfest - Jung Siegfried 5:35
3. ES - Today 5:15
4. Checkpoint Charlie - Ausschnitt aus der Geschichte von Herrn Müller 3:55
5. Julius Schittenhelm - Drei Orchideen 3:30
6. Munju - Patscha Menga Underground 8:48
7. Moira - Improvisationen 6:15
8. Funky Bone & The Gang - Higher 7:30
9. Embryo - Getalongwithasong 6:40
10. Real Ax Band - Move Your Ass in Time 5:40
11. Skyline - The Journey 7:49
12. Sadja - Daka Dhin 2:30
13. Einhorn - Einhorn Thema 5:55
14. ES - Fee Forever 1:30
15. Missus Beastly - For Flü 7:28
16. Release Music Orchestra - Sonntag 6:25
17. Ihr - Give Peace a Chance 1:27

1) Gets things off on the wrong foot with an awful cover of the Steve Miller Band classic complete with harmonica leads. Don't know Molle and don't need to. OK, looks like they managed an album called "Kotten". Next...

2) Hammerfest are obviously a core band of the festival, and the April/Schneeball kollektiv. This group has proven hit and miss so far, and I'm ignorant of their actual albums, so what do we get this time? We get the good Hammerfest, where music comes first. Here they show their hand at a more sophisticated progressive blues rock style, with some nice organ and guitar work. Even the vocals are soft focused and not offensive as would normally be the case. Hey, the crowd liked it too!

3) Well, lookee here. I've got a copy of ES' "Wham Bang" album, which is actually not bad at all. ES is made up of members of Tomorrow's Gift and their follow-on group Release Music Orchestra (who are also at this festival). With the funky fusion sounds and female vocals, it appears ES are heavily influenced by Embryo's "Bad Heads and Bad Cats" album as well as The Real Ax Band. 14) is a short thrown in, a harmless female vocal lead piece. Not sure why they felt obligated to toss this in.

4) Checkpoint Charlie are the very definition of politrock. I've had a couple of their albums in the past and they mix complex aggressive punk rock with virulent lyrics. Similar to fellow Germans Oktober. Almost like the Cardiacs but even more angry. Here we pretty much have a spoken word (in German) entry with some nice fusion moves underneath. It would be interesting to hear Checkpoint Charlie with an instrumental album. But that's not what they're about...

5) Features the former Ohr record producer. Even before Dieter Dirks was doing the insane knob twiddling in Berlin, Schittenhelm was phasing bands like Annexus Quam through the hazy fields of madness. As an artist, Schittenhelm is a folk singer - hey, gotta throw a bone to the masters once in awhile and keep them happy.

6) Second year in a row for one of Schneeball's most stalwart bands. As with the '76 concert, Munju covers another track from their debut "High Speed Kindergarten". Here they add an extended percussion sequence as a prequel. Munju were near the top tier of Kraut fusion bands of the era, perhaps slightly behind only Embryo, Missus Beastly and Moira.

7) And speaking of Moira, here's their first appearance on one of these compilations. No points for figuring out this is a loose jam. A quite good one with freaky guitar, flute solos and a driving rhythm. Both of their albums are well worth seeking out. Hopefully one of the great German labels will see fit to reissue them in the near future.

8) Funky Bone & the Gang. I wonder what style of music they'll play? This is their only appearance and not sure if they're related to 1975's The Jack Bone Group. Well they don't sound like they are anyway. Despite the funky disposition, this is pretty tight, with some good sax charts and a little wailing as well. Plenty of guitar soloing thrown in for good measure. Another band I'd like to hear more of.

9) Is the requisite Embryo appearance. They are certainly the "name" band in these festivals and they let absolutely no one down. This is a track that would show up on "Apo Calypso" but in an extended 14 minutes form at that point. Garden of Delights has announced their intention to release Embryo's entire Umsonst concert on CD.

10) Is the title track to Real Ax Band's sole album. They catch a groove early and run with it. If you're unfamiliar with this band, I highly recommend the CD that came out about a decade ago. Definitely recommended to fans of Embryo's "Bad Heads and Bad Cats" and both feature Maria Archer, a superb female vocalist from Ghana.

11) Skyline is back for their second appearance in a row. Again, their live material is far superior to their rather static studio LP. Like the '76 song, this track was also added by GoD on the CD release of "Louise For One Night". I would love hearing these concerts in full, rather than these two snippets.

12) Sadja are an Indian acoustic offshoot of Embryo, and foreshadows their later later world fusion efforts that they would pursue more steadfastly in the 1980 and beyond.

13) For me, Einhorn was the big revelation of the 1976 concert. Here, they get a bit more fast and loose with the structure, and there's plenty of unhinged free blow. Though I was a bit unimpressed with this piece, I'd still be most curious if the group has any tapes in storage waiting to be reissued.

15) The other big hitter in the Schneeball lineup along with Embryo, is of course my pet fave group Missus Beastly. This is a track that would show up on their superb "Spaceguerilla",and is a fine representation of their infectious and complex progressive fusion sound.

16) Release Music Orchestra is a relative big name, and this is their first appearance for the free concerts. Only Kraan is missing at this point! Here, they offer a slow and atmospheric jazz piece.

17) is a crowd chant to close the album out.

This set features more released material than prior ones, but overall is still quite good!

V.A. - Umsonst und Draussen - Vlotho 76. 1976 Germany

2010-08-31T05:00:00.001-05:00

The second in the series, and also only a single disc.

1. Munju - Talk to Me 5:37
2. Embryo - The Bad Times are Gone 5:56
3. Einhorn - Wer hat Angst vor Adalbert Wenstein 5:20
4. Hammerfest - Cross 5:29
5. Missus Beastly - Slow One 6:38
6. Real Ax Band - Nylon Receycled 6:16
7. Skyline - Tashiro 5:26
8. Sparifankal - I mechd di gean amoi nackad seng

1) Munju opens the album with their fiery brand of jazz rock, with some great guitar soloing. Reminded me of their "Moon You" album, though this is one of their songs from "High Speed Kindergarten". This was the only previously released track found on this compilation.

2) Embryo followed with a funky piece in the "Bad Heads and Bad Cats" vein, BUT Roman Bunka really lets loose on the guitar here recalling the "We Keep On" era (similar to the 1975 concert). Fantastic! I'd love to hear the full concert here. Embryo were one of only 2 bands to have vocals on this album.

3) Wow this was a welcome surprise! Einhorn's is probably the best track of the entire album and follows Embryo nicely. The composition here is heavily influenced by early Soft Machine, with a nice sax solo followed by the best guitar solo of the album. I'd love to hear more from this band!

4) Hammerfest. Similar to the 1975 concert, they provide an instrumental to finish out Side 1. Starts and ends with an excellent organ/guitar symphonic prog section. In the middle we get some of the worst harmonica/blues one can imagine. I can see this band will be completely hit and miss.

5) Side 2 starts with Missus Beastly who are operating in funky fusion territory similar to "Dr Aftershave and the Mixed Pickles". This is probably the weakest era of the 70's version of the band (1978's "Space Guerillas" was a return to their classic 1974/75 jazz rock style). Still there is some amazing Rhodes piano work here. I miss the dual winds players found on the '74 album though.

6) Real Ax Band followed with a spirited instrumental funk fusion piece. I always liked their one album and feel this is what Aera on "Turkis" for example is not. Some smoking acid guitar can be found here.

7) Skyline provides another fusion track with a funky edge. Again, the guitar playing is sublime and this one had a deep groove, for some slow headbanging. This is much better than the rather generic "Louise For One Night" album (1976) that Garden of Delights reissued a few years back. Fortunately they added this track as a bonus.

8) Sparifankal is the odd group out and closes the album. Basically this is German hillbilly music sung in the ancient Bayern language. Hideous, but not my scene either, and fits perfectly with the concert outlook and vision.

Another very good set overall!

V.A. - Vlotho Winterberg '75. 1975 Germany

2010-08-30T05:00:00.005-05:00

The first of many LP releases of the free Umsonst und Draußen concerts in Germany. This was boiled down to a single disc. Later ones were 2 LP sets.

1 Hammerfest - Lokomotive
2 Missus Beastly - Vloflutho
3 Jack Bone Group - Himalaya Erdbeernuss
4 Embryo - Sidetrack
5 Atzen Wehmeyer - Arbeiterjugendblues
6 Hammerfest - That's What I Say
7 Buttergasse - Sonny
8 Johannislust Orchester - In the Beginning

1) & 6) are from Hammerfest, a good times rock n roll band with a politrock slant. 1) is uncharacteristic and is primarily instrumental with driving rhythm guitar, and a little harmonica. A good opener to the album. 6) is old fashioned 50's style rock and is quite tedious.

2) is the fantastic Missus Beastly, a band I fawn over endlessly, especially from this era. This track was issued as a bonus track on their 1974 masterpiece self-titled album (from Garden of Delights) - an album that is indispensable for any Kraut fusion fan. Anyway, as you can surmise from the title, this is a free form flute driven jazz rock jam. Awesome.

3) is the only recorded output I'm aware of from the Jack Bone Group. And with a name like that, I'm expecting blues rock. And that's pretty much what we get. But it's a swell example of the style, an instrumental upbeat variation with guitar (with nice fuzz tone leads), piano, bells, bass and drums. I would most definitely be interested in hearing more material from this group, if it exists.

4) like Missus Beastly, I can't get enough of Embryo, especially from 1970 til about 1984 or so. And to think they're still going strong with their world music vision, never having once sold out. If you're an artist true to your ideals, Embryo is the gold standard. Bear that in mind before starting out - almost EVERYONE sells out at least once, but not Embryo. This track is clearly in their jazz funk stage that they launched with the brilliant "Bad Heads and Bad Cats" album. No missing Roman Bunka's impassioned vocals - I love his style. Not to mention his incredible phased fuzz guitar solo that has to be heard to be believed. I don't think this track has been issued anywhere else - hard to know without heavy research, as they have so much recorded output. Garden of Delights plans on releasing at least one full Umsonst concert of Embryo ('77), maybe they'll also do this one. I hope so.

5) Well, no surprises here based on the title. Even I could translate it and I know less than 10 German words. Yea, it's pretty awful, but hey that was the SCENE, MAN. At least it's finished in 3 minutes.

7) Buttergasse is a new name for me. Ooh, I like this! Hard driving vocal rock with some absolutely shredding violin and a couple of rhythm changes. Rare I like a German vocalist, but this guy is good. Great guitar solo half way in. Dueling with the violin at points. I bet Buttergasse had a copy of High Tide's "Sea Shanties" in their closet. I would love to hear more material from this band during this era.

8) Johannislust Orchester is another new name to me. Looks like they're related with Einhorn and Skyline, two of the best artists on the following Vlotho '76 album. Well, they have the right influences. Fellow festival groups Embryo and Missus Beastly - and also some Latin percussion via Santana. Excellent sax driven melody, and kudos to the bass who keeps driving the rhythm in a choppy manner - keeping everyone bouncing on the dance floor (or field I'm sure). Another band I'd love to hear more from.

Good set!

V.A. - Proton 1. 1974 Germany

2010-08-29T05:00:00.002-05:00

On the vaunted Kerston label (Gaa, Tyll, Epidermis), Proton 1 features five bands over a 2 LP set, of which Sun and Zyma recorded albums many years later. Zyma managed two albums actually.

1. Zyma - Law Like Love 7:02
2. Zyma - Tango Enough 6:02
3. Andorra - I've Been Waiting 7:10
4. Andorra - Mr. Congresman 2:47
5. Andorra - On My Way 4:29
6. Penicillin - Das Kleine Zahnrad 2:51
7. Penicillin - Die Fledermaus 4:39
8. Penicillin - Für Elise 6:07
9. Nexus - Always Fluffy 3:08
10. Nexus - Plexus 4:41
11. Nexus - Ignis 7:55
12. Sun - Leisure 10:44
13. Sun - To Celia 8:35

1) & 2) are from Zyma and are both excellent. At this stage they have a female and male vocalist, and the music is hard hitting bluesy post Jefferson Airplane rock, similar to Joy Unlimited and Frumpy. Much rawer than their later, more refined Canterbury efforts. One can only hope there is a full canister of tape here for a future reissue. I'd love to hear a whole album of Zyma at this stage of their career.

3)-5) are from the band named for the obscure tiny country between Spain and France. Musically speaking, sadly no ethnic elements are present. 3) is a decent straightforward acid rocker with nice guitar work. 4) is a short CSN/Byrds like rural folk rock number. 5) is the highlight of Andorra's set, and features a nice groove with some excellent guitar soloing and shaker percussion. This track recalls Missing Link, Nosferatu and early Epitaph. Andorra show enough potential, that if an archival release presented itself, I'd be most interested.

6)-8) features Penicillin, the odd group out in this bunch. They're basically a German language, commercially oriented, bluesy rock band. 8) is an instrumental classical rip similar to Ekseption, Trace or Amos Key. Other than some decent Hammond organ work, overall there's not a lot to grab hold on here. Weakest band on the set, no doubt.

9)-11) moves us into the jazz rock realm with Nexus. The addition of flute and sax to the palette makes for a more interesting ride. 9) has vocals and is the catchiest of their three tracks. 10) is the highlight of the entire Proton set and is an absolutely wonderful instrumental jazz rock piece. 11) is more atmospheric with electric piano, electric guitar (featuring an excellent wah wah solo), sax and flute. Nexus are a very mature band at this point, and another group that I hope has more in storage for a future archival issue.

12) & 13) are for Sun and somewhat maintains the jazz flavor set forth by Nexus. 12) is the longest track on Proton 1, and has a few different movements between jazz, bluesy rock, moody folk and progressive sections. Vocals and Hammond organ are fairly dominant here. A thoughtful piece. 13) breaks out the violin. Flute and acoustic guitar accompany along with harmony vocals, before breaking into heavier movements. Sun are definitely the most progressive minded of the bands present on this set, though not as mature or professional as Nexus or Zyma. Much different than their rather breezy fusion album from 1980. Another archival set that one hopes is sitting idly by waiting for a reissue label to release.

Overall, definitely a set well worth seeking out.

V.A. - Concert '71. 1971 Germany

2010-08-28T18:00:00.005-05:00

1. Waniyetula - Light My Fire 7:37
2. Waniyetula - Lindis Farne 8:38
3. Stoke - BMW 4:55
4. Homunculus - Rainbow 3:17
5. Abraham - Turban 17:13
6. Nice Noise - Abraxas 5:48

As for titles, it's as simple as they come. Yes folks, this is "Concert '71". In today's search engine world, it's a researcher's nightmare, but I'm sure in 1971 Germany it made perfect sense. That's what it is, right?

1) and 2) were reissued on Waniyetula's "A Dream Within a Dream" CD from Garden of Delights. 1) is the familiar Doors' tune, of course, and the jazzy flute mid-section adds a new twist. 2) is a loose instrumental jam, with a cosmic space rock edge. The overall recording is a tad better than bootleg quality, so many of the effects are lost I'm afraid.

Apparently Waniyetula were the big draw for the time, and they did manage two albums in their lifetime, one under the name of Galaxy ("Nature's Clear Well"). I won't pretend I know anything about the other groups here, but here are my thoughts on the music presented:

3) Is a raw rocker no doubt pissing about the elite classes roaming around in their German luxury automobiles. Vocals are bad, but the guitar melody and solo is pretty good. Crowd seemed to like it anyway.

4) Contains a heavy guitar riff and a very old organ that must have been left behind at some US army base. Homunculus' vocalist is even worse than Stoke's. Straight rock song, with an OK guitar solo break. The recording quality is really horrid to be honest.

5) At a length of 17 minutes, I have to admit Abraham is the band I was most looking forward to hearing. And it didn't let me down. What a sloppy mess of a psych jam. I think there's a sax in the background, but he's completely drowned out by the effects laden guitar. Some wordless male vocals make an appearance that are barely audible. OK, winds guy switched to flute and the higher tone allows us to hear it a bit better. Wow, the recording seems to be getting worse. All we hear is rhythm guitar while the sax is wailing somewhere back there, but we really can't hear what he's up to. Heck with that says Mr. Guitarist as he begins to do his own psychedelic wailing. Doing a hell of a job at it too. Song (loosely speaking) goes on too long of course but they miraculously didn't have one drum solo. I hope this is one of those bands sitting on some cool studio material that Long Hair or Garden of Delights will surprise us with one day. Abraham have demonstrated plenty of potential here.

6) Must have asked Homunculus to leave their organ on the stage. Oh dear, Nice Noise is covering Santana, medley-style, with this 1960s soap opera organ and light jazz tone guitar. You'll need lots of bratwursts and beer to survive this one I'm afraid. Crowd gives polite applause while by now laughing themselves to death.

If you see this album for sale, no doubt being hawked at very high prices, just leave it. There's nothing here.

Wallenstein - Cosmic Century. 1973 Germany

2010-06-22T17:00:00.007-05:00

Wallenstein - Cosmic Century. 1973 Kosmiche Musik

+++Recommended reissue: 2011 Belle Antique (Japan mini-LP). I don't own this yet, but I'm certain it's the best CD on the market. No doubt taken from the Spalax CD, but with the original packaging.

-The Symphonic Rock Orchestra-
1. Rory Blanchford
2. Grand Piano
*3. Silver Arms

4. The Marvellous Child
5. Song of Wire
6. The Cosmic Couriers Meet South Philly Willy

Wallenstein are not an easy band to pigeonhole. Generally lumped in with the Cosmic Joker crowd, and for good reason given various band members' participation, their albums proper are nothing of the sort. Well maybe the debut "Blitzkrieg" has some classic Krautrock styling (and we'll cover that at another time), but by their 3rd album "Cosmic Century", the band were trying their hand at 70s English symphonic rock. So the title of the album is quite misleading, not to mention their appearance on the venerated Kosmische label. Even though one can still find the Dieter Dirks phasing tricks thrown about here and there to keep it interesting. Definitely a swell album, if not particularly groundbreaking or inspiring.

Iconoclasta - Suite Mexicana / Soliloquio. 1987 Mexico

2010-06-21T17:00:00.005-05:00

Iconoclasta - Suite Mexicana / Soliloquio. 1987 Discos Rosenbach

+++ Recommended reissues: 1991 Art Sublime (USA - LP gatefold jacket); 1997 Sol & Deneb. Both reissues include the Suite Mexicana EP. I bought the original LP from Wayside upon release. However I sold it as soon as the Art Sublime CD came out in 1991. Art Sublime was the pioneer of the LP jacket CD reissue. This is a concept that never caught on, and that's a pity. While I love the Japanese mini-LP, which is a perfect miniature of the original LP - these LP jacket reissues were the real thing, but with a specially made insert that cradled the CD. Sort of the difference between O Gauge and HO I guess. If you wanted the CD for car/portable use, you could always stick it in a slim case, or any generic sleeve. Other than close partner Syn-Phonic, no one else gave the format much notice, and the concept seems to have gone extinct. Bummer. Oh well, I'm keeping it! The Art Sublime CD also comes with a nice full sized 2 page (front and back) foldout insert, with a lengthy discussion around the LP sized jacket (in English and Spanish). Also features a beautiful black and white surreal sketching. The gatefold inner features the original cover art for Suite Mexicana as well as a brief history of the band (also in English and Spanish).

---Suite Mexicana---
1. Mestizaje (26-A-1)
2. Revolución en 6/8

---Soliloquio---
3. Cuando La Música Era Espiritual Y No Física O El Adivino Del Último Periodo De Paz
4. Solo Tu Fruto
*5. 7:19
*6. Soliloquio

Iconoclasta were probably Mexico's #1 progressive rock export in the 1980s and a big part of the style's revival in that country. 1) and 2) are from an EP that was released three months ahead of the LP proper, and feature traditional instruments and melodies amongst the usual rock instrumentation. I would like to call out guitarist Ricardo Ortegon, who puts in an exceptional performance on both these albums. 5) adds flute with fine results. 6) is the requisite "side long" track, and allows the instrumentalists to shine with longer solo sections, including guest saxophone. Iconoclastic has a distinct 80s compressed sound, that is all their own.

Sandrose - s/t. 1972 France

2010-06-20T17:00:00.007-05:00

Sandrose - s/t. 1972 Polydor (UK and France)

LP reissues: 1988 Musea (1988 France); 2006 Amber Soundroom

+++ Recommended reissues: 1988 Musea; 2003 M2U (Korea mini-LP); 2007 Belle Antique (Japan mini-LP). Even when I started collecting progressive rock rarities in earnest in the early 1980s, Sandrose was a rare item not be found anywhere. Like many people, I was introduced to this great album via the Musea LP reissue, which I own to this day and wouldn't ever consider parting with. I did go for the Korean mini to replace the original Musea CD reissue which was a bit muffled in sound. Rest assured, all of the Sandrose reissues are licensed directly from Musea. Unfortunately the Koreans left out the critical historical booklet (though I already have it in the LP version). I'm tempted to go for the Japanese mini, as I know their attention to package detail will be sharper than the M2U label (though this version is still a very impressive job).

Tracks (* - highlights):
*1. Vision
2. Never Good At Sayin' Good-Bye
**3. Underground Session (Chorea)
4. Old Dom Is Dead
*5. To Take Him Away
6. Summer Is Yonder
*7. Metakara
8. Fraulein Kommen Sie Schlaffen Mit Mir

Sandrose are France's best representation of the European progressive adaptation of the post Jefferson Airplane sound. For anyone who loves groups like Earth & Fire, Julian's Treatment/Julian Jay Savarin, Goliath, Room, Nattura, Analogy and a host of others then Sandrose is an obvious choice. Jean-Pierre Alarcen is absolutely sublime on guitar. Organist Henri Garella lights it up on the organ and adds more than enough mellotron to satisfy any addict of the instrument. The rhythm section is clearly schooled in jazz improvisation, while Rose Podwojny sings her heart out in a decidedly non-sweet, shrill way. 4) will test your tolerance of her style. Eleven minute 3) is not just a highlight of the album, but one of the great instrumental rock tracks of our time. I'm serious.

Thule - Ultima Thule. 1987 Norway

2010-06-19T17:00:00.003-05:00

Thule - Ultima Thule. 1987 private.

Reissue: 1995 Arktisk. Obscure press from Norway that I've never seen but appears to still be for sale at Syn-Phonic. I still own the original LP only.

Tracks:
1. Det Nye Kontinent
2. Over de Iskleote Fjell
3. Vinteren
4. Jakta
5. Tia
6. Shaman
7. De Forste Norske
8. Kolonisasjon
9. Det Nye Kontinent

I bought this when it first came out in 1987, and to say it was anachronistic would be an understatement. While certainly not as retro conscious as Anglagard, Thule do seem to have fallen out of a time machine. Probably the same one that fellow northern Norwegians' Tangle Edge came out of. I didn't highlight any of the tracks, because in effect, these are two side long compositions that flow together as one long piece (that supposedly tells a tale of colonizing a new continent). Without a doubt, Pink Floyd or "Ocean" era Eloy seem to be the primary influence here, though sung in the native tongue (and even some dark narration bits). There are some 1980s references though such as the fat production with the wide open drum beats, as well as an occasional period synthesizer sound. The album pretty much plods along at a slow to mid tempo pace throughout and the focus is on the dark atmosphere. The band probably should have experimented with more complex rhythms and dynamics to allow for a more complete product. While this was never, even on day one, what I would consider a great album - it's not one I was willing to part with either, and it has aged quite well. Certainly worth pursuing if what is described above is your up of tea.

Heldon - II: Allez-Teia, 1975 France

2010-06-18T17:00:00.005-05:00

Heldon - II: Allez-Teia. 1975 Disjuncta

LP reissues: 2009 Wah Wah (Spain)

+++ Recommended reissues: 1992 Cuneiform; 2005 Captain Trip (Japan mini-LP). I own the original LP on Urus along with the mini-LP on Captain Trip, that replaced the version on Cuneiform. The mini's were directly licensed from Cuneiform and sold through their Wayside mail order channel.

*1. In the Wake of King Fripp
2. Aphanisis
*3. Omar Diop Blondin
4. Moebius
*5. Fluence
a. Continuum Mobile
b. Disjonction Inclusive
*6. St-Mikael Samstag am Abends
7. Michel Ettori

Continuing our trek through the Heldon catalog, we enter the famed number 2. Of all the Heldon albums, this is by far the most mellow, with a proliferation of acoustic guitar calming down the proceedings just a little. The subversive feel of the debut is maintained throughout however, and anarchy seems just around the corner. Deep, heavy, thoughtful music. While heavily influenced by Robert Fripp, Professor Pinhas was trekking down an individual path, and is now considered a legend in his own right. A lot of name dropping in the track titles, something that became vogue in the 2000s, but wasn't as common in the 70s. Amongst the more obscure, 5) references Pascale Comelade, where Pinhas was featured heavily on the self-named album for the Pole label. While 7) references the sometimes Heldon guitarist. A highly regarded album and rightly so. The real underground of the 70s is featured here.

Michel Moulinie - Chrysalide. 1978 France

2010-06-17T17:00:00.010-05:00

Michel Moulinie - Chrysalide. 1978 Crypto.

Reissue: None sadly. Would have been perfect for the avant minded Mio label, and I suspect it was on their radar at the time. Musea had announced their intention to reissue this as far back as the early 1990s, but apparently fell apart. Also featured on our CD Reissue Wish List blog. Like the AFT, this is an LP I bought in the mid 1980s. In fact it was brand new, as it was still available from wholesalers back then.

1. Le Ballet des Mouches
*2. Les Cordes de la Mar
*3. L'Echo de L'Acier
4. Le Philtre d'Echordus
*5. Lente Course

One man show Moulinie crafted his sole work for the Crypto label in 1978. Perfect for the time and place, Moulinie's work is similar to other like minded French underground artists such as Phillippe Besombes and Richard Pinhas. The use of acoustic guitar gives the recording a warm touch, that can be missing from the more clinical works of the era. I would guess that Moulinie was quite familiar with some of Mike Oldfield's classic works at this stage. The violin (or as it is credited "guitare violin") has a haunting, almost mellotron-like sound. On 3) and 5), Moulinie experiments with sound on sound techniques, that recall Manuel Gottsching on "Inventions For Electric Guitar". A very beautiful album, and one that has no peer in terms of sound and execution.

A.F.T. - Automatic Fine Tuning. 1976 England

2010-06-16T20:07:00.012-05:00

A.F.T. - Automatic Fine Tuning. 1976 Charisma

Reissue: None, and certainly one of the UK's last great albums not on CD. A perfect choice for Esoteric. This album is featured on our CD Reissue Wish List. I've owned the LP since the 1980s, back when you could find albums like this just rummaging around a used record store.

*1. The Great Panjandrum Wheel (Part One) -- in 4 parts
2. Gladioli
*3. The Great Panjandrum Wheel (Part Two) -- in 5 parts
4. Queen of the Night

It's not easy to maintain an interesting album with dual electric (no acoustic) guitars carrying the load throughout the entire recording, but that's exactly what A.F.T. manages to do. The rhythm section is no slouch, but their primary purpose is to keep the compositions moving along, rather than act as a feature. So no boring drum solos, or acrobatic meter sections are highlighted. Just dual guitars, with occasional solos. Fortunately guitarist's MacDonnell and Cross are up to the task, and provide the listener with many exciting sections, and add plenty of tonal changes to keep it interesting. The knee-jerk reaction is to compare AFT to other dual guitar acts from the UK such as Wishbone Ash and Man, but that isn't really the case at all. In fact, you have to fast forward another decade, and look towards the California group Djam Karet for any kind of relative comparison. While the feature pieces are the lengthy 1) and 3) that opens each side, the shorter track 2) is similar, and no less exciting. Track 4) sees the band try their hand at a more straightforward hard rock format, with vocals. And while pleasant, the 3+ minute track comes across as a bit of a throwaway. Otherwise a super album.

Gualberto - Vericuetos. 1976 Spain

2010-06-11T05:00:00.003-05:00

Gualberto - Vericuetos. 1976 Movieplay

Reissue: 1997 Fonomusic; 2003 Fonomusic (digipak). I own the original gatefold LP as well as the 1997 jewel case edition. The reissue is a straight reissue with no bonus tracks, liner notes, photos, etc...

In January of 2001, I wrote for Gnosis (slightly edited):

"Gualberto was the guitarist for rock and rollers / pop artists Smash in the early 70's. Hard to imagine such a creative mind content playing easy rock music like Smash did.

Vericuetos is a Spanish progressive rock classic. Borrowing heavily from the music of India and Spain, Gualberto incorporates these sounds with a classic Anglo progressive perspective for a truly unique blend. Gualberto's guitar style is soulful and he also contributes quite a bit of sitar for this album. A must discovery."

Made in Germany - s/t. 1971 Germany

2010-03-22T05:00:00.003-05:00

Made in Germany - s/t. 1971 Metronome.

+++ Recommended reissue: 2002 Long Hair. I've never owned the original LP. A year later, Metronome launched the Brain label, and that's most certainly where Made in Germany would have been placed had they still been around. The CD is a typically great Long Hair reissue, with unique liner notes, photos and many bonus tracks. The bonus tracks do show the band going into an entirely pop direction and are of iffy quality.

Made in Germany are yet another example of the many great female vocal lead proto progressive albums coming from Europe during the 1971 era. Sometimes panned as a "pop" album that hasn't "aged well", there are truly only scant examples of that to be found here (opening tracks on each side are pure plays for pop stardom). Anyone familiar with the continental European scene of this time, will instantly recognize the Berlin based Made in Germany as a prototypical adventurous band for their time. Listen for organ, flute, acid guitar and the husky female vocals that are all associated with the genre. Joy Unlimited would have to be considered Made in Germany's closest comparison.

Jonesy - No Alternative. 1972 England

2010-03-21T05:00:00.002-05:00

Jonesy - No Alternative. 1972 Dawn.

+++ Recommended reissues: 2006 Strange Days (Japan mini-LP (licensed from the Sanctuary Group(UK)); 2007 Esoteric (as part of the "Masquerade - The Dawn Years Anthology" 2 CD set). I've had the original of this album for over 20 years, and I've always loved the working class British gatefold cover. I have the Japan mini, though I wouldn't mind owning the Esoteric set as well.

Jonesy (named after guitarist and primary songwriter John Jones) were one of the finest of the Dawn label bands, providing a blue collar progressive rock sound - which was in deep contrast to some of the more hoity-toity bands coming from the UK at this time. Their debut "No Alternative" catches the band at their heaviest, and demonstrates a more bluesy proto-progressive sound. Perhaps a year past its prime, but nonetheless a good example of said style. Every track features mellotron, giving it the requisite dreamy contrast. In this way, early King Crimson becomes an obvious reference.

Focus - Focus 3. 1972 Netherlands

2010-03-19T05:00:00.004-05:00

Focus - Focus 3. 1972 Polydor.

Reissue: there are dozens, including Japan minis, but I still have the original 1988 IRS pressing. I see no reason to replace it, as it has unique liner notes and a great sound. Maybe if Esoteric reissued it, I would consider an upgrade. Maybe. As for the LP, I prefer the US die-cut version on Sire rather than the yellowish picture of Van Leer on the flute. It's very rare the US release will trump the original, but I feel this one did.

Like the Eloy we posted yesterday, a relatively well known title that the UMR enthusiastically recommends. Focus were at the peak of their career here with Akkerman's blazing solos, and Van Leer's flute and organ forays. 26 minute long jam "Anonymous 2" needed to be trimmed down by about half, with the annoying drum solo sucking the life out of the disc by the end.

Eloy - Silent Cries and Mighty Echoes. 1979 Germany

2010-03-18T05:00:00.005-05:00

Eloy - Silent Cries and Mighty Echoes. 1979 Harvest.

+++ Reissue: From what I can discern, the 2005 press on Harvest is the best CD to get. As it's been remastered with bonus tracks. I still have the 1995 Si-Wan (Korea) press. I've been waiting for this one to come out in Japan, as I think it would make a nice mini-LP.

Eloy were one of Germany's most famous symphonic rock groups. They had a few phases, but their most popular was the era "Silent Cries and Mighty Echoes" was released in, when they were in full blown Pink Floyd mode. What I like about Eloy is their ability to provide space. This leads to the appreciation of the big, fat riffs that cascade throughout. The guitar and keyboard leads are profound, if not necessarily complicated or overly inspired. An easy band to enjoy on initial impact, I highly recommend Eloy to progressive rock fans who are looking for something new beyond the well-known bands. For old hands, as cynical as they may be, Eloy always manage to deliver as well. A good album.

Neu! - s/t. 1972 Germany

2010-03-17T05:00:00.003-05:00

Neu! - s/t. 1972 Brain.

+++ Reissue: 2001 Grönland (UK) / Astralwerks (USA)

Ah, good ole Neu! The band that neo-hipsters think invented Krautrock - or defines Krautrock. Featuring ex-Kraftwerk members, and the music is remarkably similar. In fact, Neu! defined the direction Kraftwerk were to go into before Kraftwerk themselves actually did. To be fair, Neu! were a groundbreaking group and were one of the original bands on Brain/Metronome. And as time has passed, certainly the most beloved of the original bands on the label - if not the most popular.

Funny enough, despite their popularity, the band's works were only available as a bootleg for many years (ahem, early Kraftwerk is still in that same state). Then in 2001, a British label named Grönland rectified the problem. They were licensed to the popular NYC indie label Astralwerks here in the US. I believe the album is still in print and relatively easy to find.

Madrugada - s/t. 1974 Italy

2010-03-14T05:00:00.002-05:00

Madrugada - s/t. 1974 Polydor.

+++Recommended reissue: 2006 BTF-AMS (mini-LP). Yours truly did the "adaptation". Basically I translated the translation. On this one, it is credited to Jim H, but it was me who did the work. I did my best, but it was very difficult material to work with, so not sure I'm too upset about not getting the credit. I did some others for BTF, and I did get the credit, so I can't hide completely. :-)

One of the last of the major label (Polydor) Italian acts not to be reissued on CD, BTF has finally ended that with both albums being released in beautiful mini-LPs (though the mastering on this debut isn’t exemplary). Madrugada’s first album is a mix of light instrumental and singer songwriter material (Side 1), with more expressive and elaborate progressive rock compositions (with some wonderful Moog runs) filling the remainder. Of course, it’s the latter that holds my interest, though to be fair the melodic songs are excellent for what they are. This is a quintessential Italian sounding album, so if you’re a fan, you’ll want it for sure. Otherwise, this obviously isn’t the place to start.

Room - Pre-Flight. 1970 England

2010-03-11T05:00:00.002-06:00

Room - Pre-Flight. 1970 Deram.

+++ Recommended reissue: 2008 Esoteric. I don't own this version, but I feel I can unconditionally recommend all of their CDs. I will probably upgrade at some point. Currently I own the 1994 Si-Wan press (Korea).

Room are yet another band from the 1970 era with female vocals, and a jazzy/bluesy/psych sound that was all the rage at the time (Affinity, Goliath, Catapilla, Frumpy, etc...). And I love everyone one of them. Room is no different, though they added a little mini-orchestra to spruce things up. Great stuff.