Manilla Road ~ USA ~ Wichita, Kansas

Out of the Abyss (1988)

As you can clearly see below, I was an established Manilla Road fan by the time Out of the Abyss was released. I bought the LP dutifully when it came out, though it wasn't the type of metal I was looking for post college. Then came the opener 'Whitechapel' which was a real curveball from the Road. It starts off as straight up thrash before shifting into other metal tempos. The problem, to my ears at the time, is it wasn't heavy enough to play in the thrash game. It was an inauspicious start for the album because a) it isn't that great of a track to begin with, b) has little to do with the Manilla Road patented epic metal sound and c) it wasn't indicative of the music that was to follow on the album. Not sure why I never really gave the rest a chance, and it was to be the only Manilla Road LP I released out of the collection. It wasn't until seven years ago that I finally revisited the title via the CD reissue, and realized that Out of the Abyss wasn't really that far off the tracks as I had initially thought. Still I'd submit it's more of a follower album than a leader, which the band is noted to be. Sort of what I said about Pink Floyd's Meddle in 1971. All the same, were I to rate all of the studio Manilla Road albums pre-reformation (and not counting Circus Maximus, which is a different band really), then Out of the Abyss would still come in last. And it's a very good album, demonstrating how strong the band were in their prime.

Ownership: 2005 Cult Metal Classics (2xCD). Includes their live Roadkill album (CD version which is significantly longer than the LP). Lengthy liner notes from Mark Shelton.

1988 (first acquired); 2/3/18; 5/20/25 (review)
 

Crystal Logic (1983)

I've referenced this album many times, but never have featured it prior. I bought this album without knowing anything about the band or what they sounded like. It was on the wall of a local record store, and with a cover (and song titles) like that, I just presumed it had to be a killer metal album. I rarely would do that with new and costly albums, but I was drawn to the cover like a magnet. And my instincts proved me correct. Though at first I had some hesitancy. In retrospect, Crystal Logic is a transitional album for Manilla Road. And that unfolds through the album itself. 'Prologue' opens things up promisingly enough with a Rush-like 'Necromancer' narrative bit. This leads to the speed metalish 'Necropolis'. The guitar tone is raw and dry, and Mark Shelton sounds particularly nasal here, even more than usual. The song is almost showtooney to be honest. It's not the darkened heavy metal one would associate with the cover. This leads to the title track, and Manilla Road is inching closer to the sound they would be famous for. And then comes the infamous 'Feeling Free Again'. One last look back at their 70s heritage. With lyrics like "I got a feel for life girl, hey baay-bay I'm feeling free again... I'd never thought it's feel like this, now I'm in love with you". Some real heady stuff there. It's a good pop metal song actually. It just happens to be on the wrong album.

And then Manilla Road became Manilla Road. 

From here on out, it's epic metal in all its glory. The birth of the sound as it were. 'The Riddle Master' is everything you want in an epic metal track. Heavy riffs, sinister vocals, and psychedelic guitar solos. The latter is something Shelton dragged along from the 70s, and never let go of fortunately. He wasn't a modern million-chromatic-scale-notes-per-second kind of soloist. He preferred expressive solos, as were more common in the decade prior. All of Side 2 is excellent, with the uptempo 'The Ram' followed by the dark and eerie 'The Veils of Negative Existence'. You'd almost think Shelton was from Europe with his unusual pronunciations. "Negaahteeve Exeestaahnse". And then comes the closer, the blueprint for epic metal to come. 'Dreams of Eschaton' is why you buy albums that have covers that look like Crystal Logic. It just pounds away with one helluva killer riff and Shelton's echoed and impassioned vocals are the icing on the cake. All this leads to one last awesome solo drifting into the mists of time. Groundbreaking - and the beginning of an era.

The CD adds one bonus track 'Flaming Metal Systems' which was originally released on Shrapnel's U.S. Metal Vol. III. This track sounds like Van Halen's 'Eruption' mixed with speed metal. The label curiously placed it between 'Necropolis' and 'Crystal Logic', which kind of makes sense when reviewing the album and its progression. 

Ownership: 1983 Roadster (LP); 2000 Iron Glory (CD)

1//84 (acquired); 2004; 7/2/15; 9/28/19; 8/23/21 (review)

To Kill a King (2017)

I knew this was going to be a tough listen. I was all of 19 when I visited my favorite import/indie store in Dallas (Metamorphosis for those old-timers that were there). On the wall they were featuring a most fascinating looking new album. I'd never heard of the band, but it just looked so cool, I had to buy it. It was during the Christmas break from college... 1983. Yes, that album was Crystal Logic (still own that exact LP copy). And from that point forward Manilla Road were intertwined with various personal life events. I even went to band leader Mark Shelton's house in Wichita back in 1991. At the time, he was very excited about his new project Circus Maximus, something that didn't really take off, except for one album, released against his will as Manilla Road.

As is often the case, we all go in different directions. Shelton himself took close to a decade off from recording. My career and personal life took me away from being deeply immersed into the music world, moving more towards strictly a remote music collector. When Manilla Road resurfaced in 2001, I continued to follow the group and buy their albums, but not in the same fanatical way. No more contact, or seeing them live.

During this time, I watched with fascination as Manilla Road went from a barely known metal band that only a few of us knew, to that of true legend. It pleases me no end to see those much younger than I truly appreciate the music that Manilla Road has put out all these years. That legend will continue to grow, this I'm sure of.

To Kill a King will likely be the last Manilla Road album. It wouldn't make sense to maintain the brand, as Shelton was the brand. There was no opportunity for hand off, or to cultivate a successor. Mark Shelton's death came as a shock to us all. He didn't die early (relatively) the way many musicians unfortunately do via self-destructive behavior. Rather he went out the way true warriors do - in the middle of the battle. In effect he died of heat exhaustion, literally playing his heart out for his fans. It was a fitting way to go, though far too early for a man that seemed to never lose his way - where creativity continued to spring like a fountain.

The irony here is that To Kill a King was a look backward - to the very roots of Manilla Road. At the time when they were just as much a proggy hard rock band as anything heavy metal. One could easily hear To Kill a King as a lost album between Metal and Crystal Logic, with some excursions into more modern metal ('The Arena' in particular). To Kill a King is not Manilla Road's most exciting or innovative album, but it's great to hear a turn-back-the-clock album such as this. Perhaps Shelton subconsciously knew his fate, and wanted one last shot at an older style.

If you've never heard Manilla Road, and you're not really a metal fan (in the more modern sense), then To Kill a King would be a great way to immerse yourself into this most fascinating world. And then perhaps work your way through the catalog starting at Crystal Logic up to their masterpiece (IMO) The Deluge.

One fun fact for you: If you drive east on I-70 from Denver towards Kansas, there's an exit for a... Manilla Road. I've always wondered about that.

Now I'm afraid it's time to say goodbye, Mark Shelton. Thank you for everything.

Ownership: 2017 Golden Core (CD). Tri-fold digipak with a booklet containing lyrics and photos. 

11/30/19 (review)

The Deluge (1986)

Manilla Road's peak album among a whole canon of peak albums. The ultimate epic metal performed at a time (1986) when everything was synthesized and slick-as-a-butter-dish. The Deluge is the antithesis - perhaps remedy - to all that was wrong in those misguided middle 80s. And the drumming on this album is insane, it's also like it is just off meter (a little bit) that adds to the urgency. There's an awesome moment in the middle of the lengthy title track that must be heard - incredible riff and drumming! The loss of Mark Shelton cannot be understated. He followed his own direction and made his own music. One that was pretty much ignored upon release (especially here in the US - I was one of the few here who bought it as soon as available) but many years later found his audience. Which continues to expand - and will grow for generations. He died a true warrior - after playing a concert in Germany, pounding it out at age 60 as if he was still 19. Look for the The Deluge to one day be considered a Top 5 album of the year in which it was released. It's timeless. 

Ownership: 1986 Black Dragon (LP); 2011 Shadow Kingdom (CD). Liner notes from Shelton, plenty of photos, and lyrics.

1986 (acquired); 11/5/11; 12/23/18 (review)

Open the Gates (1985)

Nobody mixed riff based metal with psychedelic hard rock better than Manilla Road. All wrapped up with fantasy Medieval lyrics and artwork to cuddle up with. It's a big sloppy mess, but wonderfully so. Imperfection never sounded so good. At times Shelton sounds like Frank Marino, as he noodles away wildly, seemingly without purpose, with a crazy racket storming behind him. 'The Ninth Wave' is yet another perfect Manilla Road epic metal track - one that basically reiterates their invention of the style. Manilla Road are for those of you who like Hollywood leading men with scars and lots of wrinkles. If you came here looking for crisply executed, slickly produced, and perfectly played metal - then you cannot possibly be more lost.

Ownership: 1985 Black Dragon (LP + EP);  2001 Dragonheart (CD)

1993 (acquired); 12/9/11; 10/13/15 (review)

Mark of the Beast (1981-1982 / 2002)

So the story goes that this album was originally intended to be the second Manilla Road release after Invasion, but was scrapped, and Metal ended up being the final product. The title was to be Dreams of Eschaton. I'm not buying it for one second. There's way too much variation of style and sound quality here to be a coherent album. Not to mention the 66 minute length (double LP? C'mon...). But this is the story Mark Shelton himself tells, but we know how it goes with bands and their memories...

What I will believe, though, is that these are demo recordings from the 1981/1982 time frame, and that would fit the label owner's story of him receiving it at that time as a teenager. It's important to remember that Manilla Road were a hard rock band at their beginning, with psychedelic guitar and progressive lyrical themes. And mostly that's what you get here, along with some of their early chugging metal style that was present on Metal.

It's mostly a solid psychedelic hard rock release, with a couple of down moments like 'Court of Avalon' and 'Venusian Sea' both of which seem go nowhere beyond hearing Shelton sing for way past the song's shelf life. So 13 minutes of just-OK music is hardly a bad batting average. On the flip side....

'Avatar' has to be heard to be believed. To me, this is the perfect 5 star track. What a glorious mess of a song. It is all over the place. It's psychedelic, it's hard rock, it's metal, and it's progressive. All at the same time. I absolutely adore this time in music when there were obvious influences - yes - but not properly placed at all. There were no rules, just whatever they felt like doing, whenever they felt like doing it. You could hear this track forever and not hear it the same twice. I want a triple album of music like this! And then follows 'Dream Sequence' which is an organ dirge with echoed voices, sounding right off a 1970 German Ohr Krautrock album. And no keyboards are credited! Guys, are you sure you did this?

Anyway, so much material here, and plenty more inconsistencies that make it so weird and wonderful. In other words: Must own album!

Ownership: 2002 Monster (CD). Includes all the lyrics and a history of the album penned by one of the label owners.

2004 (acquired); 7/20/15 (review)

Other albums I own and need to review: Invasion; Metal; Mystification; The Courts of Chaos; Atlantis Rising; Spiral Castle; Gates of Fire; Voyager; Playground of the Damned; Mysterium; The Blessed Curse; Roadkill; After Midnight Live

7/20/15 (new entry)

Foreigner ~ England

Double Vision (1978)

So finally we get to Foreigner's sophomore effort. This was one of those early albums that I recorded off the radio and couldn't generate the enthusiasm to purchase. I was a fan of the debut, but already by 1978 I was looking for more. A wise 13 year old apparently. One gets the impression that the members of Foreigner were recruited by a corporation to create the perfect AOR group. And they succeeded that goal on the debut, but the band accidentally recorded some quality music to go along with their obvious attempts at radio airplay. By Double Vision, they'd honed their craft to block out most of that innovative music nonsense, and get on with making hits! Even with that, they let a few good songs slip on the B side. Namely 'Tramontane', 'Lonely Children', and 'Spellbinder', none of them allowed within miles of getting on the radio. Honestly I think they improved on their "formula" for their next two albums, separating further from any kind of artistic integrity dogma. And to think former King Crimson member Ian McDonald put his good name to this effort. Look at him and his pretty girlfriend on the album with Michael Giles and ask "What happened mate?"

Source: 1978 Atlantic (LP)

1978; 5/15/25 (review)

Foreigner 4 (1981)

My rating for this was really low, a reaction real time to what I perceived Foreigner to be back then. By 1981, I was going underground, and had no use for mass acceptance pop slop like Foreigner! As noted on their debut, I was a fan of theirs as they started when I was all of 12. In hearing that debut album again only a few years ago, my view softened considerably, and nostalgia took over (I kept the LP). I imagine a similar response will occur when I revisit Double Vision (nope). A reunion with Head Games didn't have the same positive response, so will Foreigner 4 do any better? I'd submit very much so. Make no mistake, this isn't getting collection space, but it does represent the time and place quite well. Compared to the garbage REO Speedwagon and others were spewing out, this is downright Yes in their prime. Even Journey was below this effort in 1981. It's still way too much panning for hits for me to take overly seriously, but not bad. Not bad at all.

Source: 1981 Atlantic (LP)

9/16/24 (review)

Foreigner (1977)

Unlike the other albums I own from my first year of buying in 1977 (including Alan Parsons Project I Robot which is already in UMR), I didn't originally keep Foreigner. Not even sure the LP made it to college with me. This was a "pandemic pickup" for a $1 from a fellow collector who had a garage sale on some random Sunday. Real time in '77 this would prove to be the first title I'd purchased with a prog rock heritage, primarily a one Ian McDonald.

Even though I played it endlessly as a kid, and only three years ago on the reminiscence purchase, I couldn't tell you what A5, B2-B4 sound like. The first two tracks were played endlessly on the radio, and they are good 'uns too: 'Feels Like the First Time' and 'Cold as Ice'. For me the best track is 'Long Long Way From Home', about the only one here that had more than two ideas in the same song. Overall, it's a pretty good example of late 70s FM radio AOR. 

I originally purchased this album in 1977 (as noted above) at Montgomery Ward in Northtown Mall (Dallas). I bought a lot at that store back in the day. The records were up front, by the window, near the entrance from the indoor mall. The mall itself was a total disaster and had turned into an outright slum by the 80s. They wisely bulldozed it and there's a much more attractive retail / office space there today.

Ownership: 1977 Atlantic (LP). Lyric inner bag.

1977; 6/22/20; 11/9/23 (review)

Head Games (1979)

Whatever I thought of Head Games when I was 14 years old still applies now. Though my rating was a bit too low. Yes, I can actually get through the whole thing, but it sure is trite. They are so obviously panning for hits at this point. I guess they figured if they threw ten of them against the wall, some would stick. And they were right, though they were to do even better (commercially speaking) on their next album. For what it is, it's not terrible, but I certainly don't need this kind of thing desecrating the collection.

Source: 1979 Atlantic (LP)

1979; 12/26/20 (review)

11/9/23 (new entry)

Arco Iris ~ Argentina

Agitor Lucens V (1975)

---7/9/09

This is a new revelation for me, and comes as quite a surprise. I always thought of Arco Iris as a new age / Andes Mountain hybrid from the 1980s. Then I was told their 1970's albums were different, so I got ahold of Los Elementales (which is on CD), a very fine fusion album from 1977. 

Agitor Lucens V appears to be unique in their canon. This is one of the best things I've heard in the last couple of years. It's a mite inconsistent, which is part of its charm I think. In some ways, this is Argentina's version of the Lula Cortes and Ze Remalho Paeribu album. And when you find out that their spiritual guide was a gorgeous babe / former fashion model, then you know these guys were tuned into something special.

---5/15/25

Agitor Lucens V was my highest rated album that I still didn't own a physical copy of. For many years this was the case. Even though Sony reissued the album on vinyl in 2020, I held out for an original since the reissue was also very expensive considering postage. Finally the reissue made its way to these shores, and I nabbed one at a relative bargain price.

It's been 16 years since I last heard the album while doing deep research for the CDRWL. As you can tell, the album made a strong initial impact and created separation from others in the stack. So has it held its allure? Oh definitely. Even better actually. Agitor Lucens V is a special album and truly is one of a kind. The album is almost indescribable yet it's mostly familiar within the context of each song. There is little consistency, very much an exploratory 70s styled release. My earlier comparison to Paebiru is accurate on a number of fronts, other than Arco Iris are more in control and professional (well, side 4 does get really out there). In some ways, one could see this being an Italian prog album were they allowed to stretch to a double LP. I first thought of this as I heard the long bluesy guitar jam that closes side 2. It reminded me of Garybaldi. Now mix some of that with Osanna circa Palepoli and you start to paint the picture. For a double album, it's enjoyable throughout, because you're embarking on the same journey as the group. You never know what's going to happen next. These are the best type of albums to have ever been made.

Ownership: 2020 Sony Argentina (2xLP). Gatefold. Sounds like it's been taken from vinyl, so keep expectations in check. Doubt originals sound much better to be honest, though I'd still like to have one. If Sony doesn't have the masters, then hopes for a perfect CD reissue are not likely.

7/9/09 (review); 5/15/25 (acquired / update)
 

Los Elementales (1977)

Arco Iris were always an unusual lot in the 1970s. All of their albums are different from each other, and often times different within the album itself. But not in that trite Beatles way which many bands fell victim too, but rather a much more exploratory element was present. The preceding effort Agitor Lucens V is one of the greats from the South American progressive rock scene, recalling other outsider works such as Paebiru from Brazil.

So when I first heard Los Elementales, my reaction wasn't that much different than some of the reviews I've read. Because it is after all 1977, and jazz fusion was all the rage. And on a cursory listen, that's what Arco Iris are doing here. But close inspection reveals far more than swapping synth, sax, and guitar solos over a breezy selection of tropical tunes. It's much more dense, sometimes angry, often times beautiful. The melodic component is high, and the technical chops are sound. In tow, of course, is their fashion model / spiritual guru Danais (Dana) Wynnycka providing guidance - and perhaps better for the rest of us, a few soft female vocals.

Don't overlook this one, if you have a taste for fusion, but looking for something more substantive.

Ownership: 2006 Leader (CD). Digipak. Includes an interview of the band (in Spanish) and a couple of relevant bonus tracks. 

6/10/07; 2/7/14; 7/15/16 (review)

1/1/17 (new entry)

Jacobs Dream ~ USA ~ Columbus, Ohio

Theater of War (2001)

Theater of War is the second album from Jacobs Dream and is sandwiched between the two I've documented below. Musically it is very similar to both. Next-gen early Queensryche with plenty of progressive sensibilities. I'll also add another Seattle band into the influence bucket: Sanctuary. Some bands have that right sound, and Jacobs Dream possesses it. David Taylor's vocals are incredible. He never screams, and maintains melody at the highest registers. A little bit like the operatic Messiah Marcolin of Candlemass. Much praise should go to the guitarists here as well. They not only riff (with a deliciously distorted tone) but their solos are soulful rather than gymnastic. Theater of War extends the compositions more than their debut, calling on their progressive tendencies. And an obvious admiration for Iron Maiden. As noted below, these are the only albums I've heard by Jacobs Dream. Hopefully I'll discover more while digging in the wilds.

Ownership: 2001 Metal Blade (CD). Lyric booklet.

11/19/18; 5/15/25 (review)
 

Drama of the Ages (2005)

Until late last year, I had never even heard of the grammatically incorrect Jacobs Dream. A few years ago, I bought a pile of metal CDs (all new or barely used) for $1 to $2 each, and stuck them in a drawer. Somehow I ended up with the first three Jacobs Dream albums. After hearing and enjoying the first one, I pulled the other two out for a higher priority than "tossed in a container forever" status. Of the CDs from that pile, some were hardly worth the pennies I paid. But Jacobs Dream is exactly the gem in the rough I was looking for.

As I noted on the debut, Jacobs Dream takes the premise of the Queensryche EP and runs with it. They are much heavier than our friends from Seattle were to become, and on the first two albums, singer David Taylor did a fine job at emulating Geoff Tate - himself imitating Rob Halford to an extent. For Drama of the Ages, Taylor is gone and Chaz Bond has taken the mic (cool name, eh?). His vocals are a bit disorienting at first, lower in register than Taylor, but still the Tate-isms are in play. Musically Jacobs Dream remain similar. They are not really progressive metal, but they have progressive elements, similar to the older vintage metal bands. The music is certainly heavy, and there are twists and turns within each track - and some sparse synthesizers. Miles away from the gymnastic Dream Theater school, Jacobs Dream provides you plenty of room for good old fashioned headbanging. Lyrically the band is becoming more and more overtly Christian. You would never know it by the music though. This is not praise-be-to-the-heavens hymnal work. But rather a different subject matter than what you might initially think hearing the music only.

This ended the three album run on America's preeminent heavy label Metal Blade. The fact that you can still find sealed copies for under $5 tells me the band weren't a big seller, despite the high quality and consistently great reviews from metal critics. From here the band began to self-release and later joined the Christian metal label roster of Retroactive. If any of these albums roam past my wire for a good price, I'm buying.

Ownership: 2005 Metal Blade (CD). Lyric booklet.

2/7/19 (review)

Jacobs Dream (2000)

The summer of 1983 was an exciting time for us young metal fans, and one of the great new hopes was a band from Seattle named Queensryche, who had just released their eponymous debut EP on their own private 206 label (area code for Seattle). It was exactly the right kind of metal I was looking for, a pre sell-out Judas Priest type album with incredible songs, heavy riffage, and a gifted high-pitched singer. Unfortunately they were never to repeat this sound again, though whatever they did decide on was immensely popular, but it wasn't for me.

Enter Jacobs Dream, a somewhat obscure band from Columbus, Ohio, who are still toiling to this day. This - their year 2000 debut - is the album I was waiting for from Queensryche - and I didn't hear it until 2018. So I'm 18 years behind the times, and Queensryche is 34 years overdue. This is just the kind of traditional heavy metal I like, with real songcraft, excellent riffs and guitar solos, a little bit of progressive, but not overtly so. And vocalist David Taylor is really quite accomplished, reminding me every bit of Geoff Tate in his prime. You'll hear snippets of other groups as well such as Number of the Beast era Iron Maiden, Fates Warning circa The Spectre Within, and even Rush (listen to 'The Gathering' to see what I mean here). The music is not pitch perfect and is rough around edges - just the way I like it. Easy recommendation for those where the above time and place resonates.

Ownership: 2000 Metal Blade (CD). Lyric booklet. One bonus track.

9/28/18 (review)

9/28/18 (new entry)

Sun Treader ~ England

Zin Zin (1973)

---2/26/13

Zin Zin is a very nice instrumental jazz / rock album with electric piano and exotic percussion. Despite the limited palette, there are many good ideas presented here, including some moodier atmospheric pieces. For those who like the jazzier end of the progressive spectrum.

---5/8/25

Short observation but pretty much spot on. I did forget to mention there's soprano saxophone on two of the four songs. Played in a friendly pleasant manner fortunately. Zin Zin is very interesting from a rhythmic perspective. The final 12+ minute track belongs more to electronic music than fusion, though the instrumentation remains the same. Awesome cover that I will add to my Wall of Albums.

Ownership: 1973 Island (LP). Printed inner bag.

2/26/13 (acquired / review); 5/8/25 (update / new entry)

Nightwinds ~ Canada ~ Ontario

Nightwinds (1979 / 1991)

Nightwinds were a Canadian prog band from the late 70s who recorded an album but didn't get a chance to release it, and off into the netherworld the group went. Rescued by The Laser's Edge, it would be 12 years (recent by archival standards) before the album made its debut. Ironically its arrival came a bit late for me and my running set of the era. We were all "Genesis'd out" by then. One of us bought the album and we all sampled it, but another band going down the Gabriel-era Genesis road was not what we were looking for at the time. Back then we bought just about every prog album that was released, but I decided against this title. By 1991 I was deep diving all over the world looking for the best prog albums ever made or were being made. Nightwinds wasn't where my dollars were going. Besides I was still mostly an "LP only" guy. Mostly from a financial perspective rather than for audiophile reasons.

It wasn't until 2009 that I finally sat down and heard the album all the way through. By then I was open to hear any good album, as my exhaustive searching for prog nirvana had reached its logical conclusion (not that I had heard everything, just the quest had leveled off). And yea, Nightwinds is really good actually. By that time Nightwinds was years out of print, and copies were selling for top dollar. It's OK, I'll wait.

And here we are 16 years later from that event and I've finally secured the CD at a reasonable price. One of those extremely rare times (these days) where the album arrived in the mail, and I popped it into the changer immediately (and listened to it twice in a row, another anomaly). That's exactly how I used to do it back in 1991. Not stacks of albums that sit waiting for their day on the turntable or in the player. So it's fitting to transport myself back to the era in which this was released.

So what of this music that Nightwinds plays? Would you believe it reminds me of Genesis? Haha. Of course it does. Actually it reminds me most of Florida's Babylon, another band that was ahead of the neo-prog curve by about three years. And that's the storyline here - it's a more compact and accessible form of early Genesis, just as IQ, Pallas, Marillion and the rest of them would bring forward in the 80s. Germany had other like-minded groups operating in similar fashion such as Neuschwanstein, Sirius, Ivory, Touch, and others. Take Wind and Wuthering, add Peter Gabriel back in, and modernize the sound. There's certainly nods to same era Rush and Saga, both hailing from Ontario and no doubt an influence here. But Nightwinds aren't as hard rocking as Rush nor as modern as Saga. Interesting to note that bassist Mike Gingrich came from the excellent Amish, one of my CDRWL staples.

In reflection, the late 80s and early 90s were an exciting time to be a hardcore progressive rock fan, which I most certainly was (and still the case - despite my constant forays into other genres). Back then new bands were sprouting everywhere, and the possibilities seemed endless. Plus I had a paying job (pennies really but happy to have it, and paved the road for the future), was still a single lad in my 20s, and allocated an inordinate amount of money to my hobby. That an album like Nightwinds was met with a yawn indicates the sheer amount of quality new product available to us at the time. Saturation was to come. But not yet.

Ownership: 1991 Laser's Edge (CD). Lyric booklet.

2009 (first listen); 5/5/25 (review / new entry)

David Stoughton ~ USA ~ Boston, Massachusetts

Transformer (1968)

---7/29/09

Way ahead of its time experimental psychedelic album. As adventurous as they come for such an early date, I was reminded of other experimental American artists from the same era like The United States of America, Friendsound, Music Emporium, Tim Buckley, Fifty Foot Hose, and The Beat of the Earth. Female vocals, trumpet, guitar, sound collages, and much more. Pure genius.

---5/4/25

More data has emerged since I last visited and wrote about Transformer. Apparently he was a Harvard mathematician (not sure if he was a professor of some sort) and was part of a music group called Cambridge Electric Opera Company, which this album was supposed to be released under. It was a last minute decision by Elektra to only put Stoughton's name and photo on the cover. John Cage was a major influence on the record, Stoughton recalls.

In hearing the album again, the two shorter opening tracks on each side are either psychedelic folk, or an English type of Baroque pop that was popular in the era. A3 is very similar to the experimentalism of Friendsound. And B3, while also experimental, does mix in some coherent psychedelic music. 

It's interesting to see the willingness of major labels to capture a larger audience during the late 60s. Transformer is hopelessly non commercial, but such were the times. By 1970, major labels weren't sure what to do, which is why I often called it the "confused year". By 1971, Corporate America had controlled the market and focused heavily on financial returns. That would be the state of affairs until it all broke down in the 90s when technology allowed everyone to participate. Today albums like Transformer are released regularly, but to niche markets, which is the proper approach.

This same article goes on to state: "Transformer... remains unpopular outside of what the musician calls "a small but dogged core of [online] music lovers who are interested in the extreme music of the '60s". I would agree with Stoughton that the album has found its audience due to larger global exposure. But I disagree with the influencer that it remains "unpopular". Who would know really? Seems popular enough on the websites I visit. I would say "unknown" is appropriate here. It's a polarizing album though, as is Friendsound, so yea it's not for everyone that's for sure. I enjoy it quite a bit, though I wish some of the experimentalism had been dialed back and they included more songcraft instead. Stoughton was good at writing tunes, so nothing to cover up.

Ownership: 1968 Elektra (LP)

No reissues exist as of 5/5/25.

12/20/07 (first listen); 12//08; 7/29/09 (acquired / review); 5/4/25 (update / new entry)

Santana ~ USA ~ San Francisco, California

One of the most influential guitarists in history, Carlos Santana assembled a high quality group of multi-cultural musicians. Coming from the Mission District of San Francisco, Santana was groundbreaking in many ways. But what really makes Carlos special is that he took his fame and fortune and made a go at high art. His "spiritual jazz rock" phase is nothing short of incredible, before settling back into corporate America. And mostly losing his way ever since. There's a religious metaphor in there I think. How ironic. More updates to come eventually.

Carlos Santana & Buddy Miles - Live! (1972)

One of the more forgotten of Santana's releases is his collaboration with Buddy Miles for a January concert in Hawaii. It's here that you can really tell that Carlos Santana was hankering to dig deeper into his spiritual consciousness. And explore jazz at a deep level as well. There's still plenty of the Santana III rock band styled music here, but Caravanserai is on the horizon. For fans of that phase of his career, this album is pivotal and represents a key transition.

Ownership: 1972 Columbia (LP). With insert.

4/30/25 (review)

Welcome (1973)

Welcome is Santana's 5th album and was released smack dab in the middle of his spiritual jazz rock phase. Along with Caravanserai, Love Devotion & Surrender, and Lotus, it almost defies belief that a major "pop" artist such as Santana would achieve such great heights with decidedly non-commercial music. Which is the primary gripe of the naysayers even today. Intense guitar heavy jamming is not for everyone, and it's understandable that he lost a good portion of his primary audience. My view is the polar opposite. The older I get the more I appreciate Santana and other artists who followed his way. Welcome is not only a jam heavy guitar and organ extravaganza, but it also features some beautiful songwriting. I love the Leon Thomas sung songs, completely at odds with the rest of the album, yet fits the elevated spirituality that was Carlos Santana in 1973. There's the obvious great with tracks like 'Flame-Sky' and the title track. And then there's the beautiful great with 'Love, Devotion, & Surrender', 'When I Look Into Your Eyes', and 'Light of Life'. They are not mutually exclusive. Yet another Santana album that gets a +1. For whatever reason I didn't buy this album back in college with the rest of them. My mistake as it's one of their best. The CD features one more great song ('Mantra') that is not to be missed.

Ownership: 2006 Columbia Japan (CD). Papersleeve edition. Part of a box set.

2005 (first acquired); 2/16/25 (review)

Beyond Appearances (1985)

I find it interesting that Carlos Santana never let go of his iconic psychedelic sound. He really could have been the tip of the spear at any kind renaissance of high quality psych and fusion in the 1980s. But he decided to play ball and follow the trends of the day. So most of the songs are boring, with cringeworthy 80s digitalitis sounds. ...and Carlos' beautiful tone when it's his turn. Oh well, he continued to stick with this formula, and it finally paid off for him commercially about 15 years later. 

Source: 1985 Columbia (LP)

7/31/24 (review)

Santana (1969)

The birth of the movement. Latin Rock remains one of my favorite subgenres of music, and I owe a ton of gratitude to a one Carlos Santana. A fantastic guitar player who had the vision to meld Hispanic culture with the ongoing psychedelic and hard rock movements. His group and extended family spawned many imitators, some maybe even better than anything Santana released. While Carlos deserves heaps of praise, the X-factor in the group has to be Gregg Rolie. His soulful voice, songwriting ability, and Hammond organ work is at the highest levels. The juxtaposition of bluesy hard rock soul numbers like 'Shades of Time', 'Evil Ways', 'Persuasion', 'Treat', and 'You Just Don't Care' against the percussive Latin rockers 'Waiting', 'Savor', 'Jingo', and 'Soul Sacrifice' is what makes the debut so special. Rolie was to Carlos what Roman Bunka was to Christian Burchard (Embryo). Taking a great band to a timeless one. Even though I've known this album for well for 40 years, I still managed a +1 listen out of it. It now resides in the very top tier.

Ownership: Columbia (LP) later 70s press; 2006 Columbia Japan (CD). Papersleeve edition. Part of a box set. Contains three bonus tracks taken from the Woodstock concert.

1983 (first acquired); 6/13/16; 11/26/23 (review)

Festival (1977)

About a year ago I had a chance to revisit Moonflower to great results. Would I have a similar experience here? And the answer is a resounding yes. While it doesn't have a jaw dropper like 'Europa' (what does?), Festival is more consistent. The first three tracks are Santana at his absolute best, mixing in his purposely naïve view of the world with molten licks. And so it goes, with his usual mix of ethnic and harder rocking tracks. He pretty much let go of the funk that permeated Amigos. There are two tracks that are too Vegas-y for me 'Give Me Love' and 'The River', which still leaves 36 minutes of great music.

Ownership: 1977 Columbia (LP)

1987 (first acquired); 8/9/21 (review)

Amigos (1976)

Funny about these albums sitting in the collection forever, that go back to childhood, and yet I couldn't tell you squat about it. I only kept the LP all these years because of 'Europa'. More on that one in a minute. What of the other six tracks, are they really that bad? No, not all actually. Well, save one.

'Dance Sister Dance' is a hybrid classic Santana Latin number with some creeping funk influence. The latter half of this song jams quite well. Which then segues nicely into the album's hidden gem 'Take Me With You', which sounds like early Santana ripping and roaring, until it puts the brakes on for a nice journey on The Love Boat. C'mon now, the girls are pretty and this is the perfect soundtrack. 'Let Me' isn't so bad really. Yes, it's got that Herbie Hancock Clavinet thing going and I could probably go without the "soul sista" chorus that were annoying even back then... and especially now. But Santana is there to lay down a killer lick or two, so it's OK.

'Gitano' is Amigos' contribution to Latin music. There are times when it seems it's about to take off into another killer jam, but it stays within the rails too much. 'Tell Me Are You Tired'. (OK, if you insist). This one is a bit too much funk pop for me, with more soul sista chorus, but not egregious on the whole.

This leads to 'Europa', which is just simply one of the most beautiful - and powerful - instrumentals ever committed to tape. Been hearing it for over 40 years, and I still get goosebumps throughout the entire song. Had it only been 20 minutes.... In any case this leads to...

'Let it Shine', the track that does everything in its power to desecrate the previous - that what was once holy and sacred. I mean I can deal with a little boogie woogie now and then, but seriously this is just plain awful. OK, let's just forget it ever happened. Nothing to see here.

And so with that - an album that is far better than I ever recalled. Glad I kept it.

Ownership: Columbia (LP). 80s pressing

1989 (first acquired); 11/30/07; 9/21/18 (review)

Albums I own and still need to review: Abraxas; Santana III; Caravanserai; Love Devotion Surrender; Lotus; Borboletta; Moonflower; Live at the Fillmore 1968; Blues For Salvador

9/21/18 (new entry)

Sandrose / Eden Rose ~ France

Eden Rose - On the Way to Eden (1970)

Even though Sandrose contains all of the members of Eden Rose plus a female lead singer, there is little in common with the two groups other than perhaps a name association with rose. On the Way to Eden contains nine mid-length instrumentals informed by the jazz and psychedelic movements of the day. The album bears a strong resemblance to the era's TV and film library works. However what separates Eden Rose from the pack is the tracks are fleshed out further with some fine soloing, in particular Henri Garella's organ. Also these songs seem more like full compositions than sketches of ideas. Melody remains front and center. It's the kind of album that doesn't sound super exciting on paper but translates very well upon listening. The CD adds the B side to their sole 45, and is similar to the LP.

I originally had the LP of this but swapped for the CD upon release. And that's the last time I heard this before last night.

Ownership: 2003 Musea (CD). Full liner notes and bonus track.

5/26/01 (first acquired); 2003; 4/29/25 (review)
 

Sandrose (1972)

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 to own. Jean-Pierre Alarcen is absolutely sublime on guitar. Keyboardist 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. 'Old Dom is Dead' will test your tolerance of her style. Eleven minute 'Underground Session' is not just a highlight of the album, but one of the great instrumental rock tracks of our time. I'm serious.

My first copy was the Musea LP reissue and eventually upgraded to the French original.

Ownership: 1972 Polydor France (LP). Gatefold; 2011 Lion Productions (CD). Comprehensive liner notes, more than the others I've owned prior (which includes Musea, M2U, and Belle Antique).

1988 (first acquired); 6/20/10 (review); 4/4/17; 5/5/21; 8/25/23

6/20/10 (new entry)

U.K. ~ England

Night After Night (1979)

Even though I've been familiar with both of the U.K. albums going back to the middle 80s, I never bothered to hear their live album. And really there didn't seem to be a compelling reason to do so, as most of these tracks come from their two albums, and rather straightforward renditions at that. Feels like a contract obligation album. Plucking down 69 cents for this cassette seems like a rational purchase. The title track is one of two new compositions. People are right in suggesting this is the beginning of Asia. It's a fine album oriented radio song just as I would say about the ones on Asia's debut. The other 'As Long As You Want Me Here' is even more likely to clog the Asia drain.The irony of having this concert coming from Tokyo. Nice show, nothing revelatory, and not much else to say. 

Source: 1979 Polydor (MC)

4/27/25 (review)  

Danger Money (1979)

Way back in 1984 I purchased Danger Money from a store based on someone's recommendation (he was standing next to me). I thought it was great on first impact. I had yet to hear the debut, something I was to pickup a couple of years later. For whatever reason in the 90s I soured on both and sold them off. I reacquired the first album in 2020 and now I've finally found this one. Though common online, it's surprisingly elusive in the wilds. 

In any case, I hear the music like I first did when I was 19 years old. Terry Bozzio on the drumkit adds more energy than Bruford did, and Eddie Jobson plays a surprising amount of organ for such a late date. His violin is always welcome. John Wetton brings his familiar voice and strong bass work. There's some very nice melodic songwriting here as well, with 'The Only Thing She Needs' being the highlight. You'll hear a strange mixture of ELP and King Crimson throughout, though the embryonic stages of Asia are buried deep within. Great album.

Ownership: 1979 Polydor (LP)

1984 (first acquired); 5/12/23 (review)

I own and still need to review the debut.

5/12/23 (new entry)

Deyss ~ Switzerland

Vision in the Dark (1987)

Deyss were the most maligned of all progressive rock bands. At least back in my day, which was real time in the 1980s and 90s. Their debut At-King was a complete misread of the contemporary audience and played off every caricature one could think of when talking progressive rock. It was something of an embarassment really. To be fair Deyss didn't have a whole lot of data, support, or feedback to rely on like any modern band of the internet age has / had at their disposal. To this day At-King finds itself on many of a Top 10 Worst prog albums of all time. And folks of my generation (and obsession I must add) still talk about it. To the point where it was clearly a scarring moment for many, and psychologists are in employ because of it. Fortunately I never gave it much thought beyond it's an album I didn't want to keep and sold it off three decades ago.

One must remember the era in which At-King came out. We were all starving for new progressive rock, and outside of England, it was pretty slim pickings. But things were starting to pick up in France, Italy, Germany, and beyond. Especially Japan. So having a vocalist named Jester wasn't such a bad idea on paper, even though it quickly became our Spinal Tap moment.

But what of their follow-up Vision in the Dark? Was it terrible too? No, of course not. Certainly I didn't feel that way since I've owned this LP for some 37 years now. However it's been at least 30 years since I last heard it, so would I be repulsed, overjoyed, or neutral?

The reality is Vision in the Dark is Marillion Script for a Jester's Tear worship. Itself Gabriel era Genesis worship. No question this is music of the 80s, in the same way Marillion were. Nothing analog about it. Jester isn't the right guy to be the lead singer, and he does bring a local accent. It's fine when the band has much going on, but the sections where he's the feature aren't going to win any awards.

It isn't until B3 that Deyss begin to cook, and this variation of neo prog has aged very well for me. Here they sound more like vintage IQ than Marillion. And the bass work is particularly notable, bringing out his inner Chris Squire. By the time we get to the side long suite (Side 3) it's as if we're listening to an entirely different group. For one, it's mostly instrumental. And for two, Yes now becomes the primary influence, and secondarily it's more Genesis than Marillion. There's even a bit of early King Crimson going on towards the atmospheric ending.

It's really too bad Deyss didn't continue on, as I'm sure they would've cleared up their good name in fine fashion. Many highly revered modern prog bands started off inauspiciously. Galahad, Abel Ganz, Citizen Cain, and Versailles to name but a few. Some would even throw Pendragon into that mix. They all had to learn the hard way what the modern prog fan wanted to hear.

So what's the answer to the question I posed above? Pleasantly overjoyed. Though for the first half, I'd only offer neutrally pleased. And yea, I like the cover too. It's Prog 101, but is that so bad?

Ownership: 1987 private (2xLP). Gatefold with picture collage inner bags.

1988 (first acquired); 4/21/25 (review / new entry) 

2025 Fusion / Jazz Journal Vol. 1

*John Klemmer - Blowin' Gold. 1977 Cadet (LP) (1969). I know Klemmer best from his perennial thrift shop buck bin album of Touch which is a landmark smooth jazz album, and quite boring at that. This is almost the polar opposite. Borderline free jazz though just enough cohesion for me to remain engaged. Pete Cosey's psychedelic guitar gives the album a real edge, and the atmosphere describes a dingy club somewhere in the older industrial suburbs of Chicago. Moody, dark, uncertain, and exciting. Miraculously I found this for a dollar as well, and the cover drew me in. Not sure if this is a long hauler yet, so I'll keep it in the journal for now. I have another one of his early 70s albums here, so we'll see how that goes. (Apr)

Jasper van't Hof - The Selfkicker. 1977 MPS (online). Jasper van't Hof is someone who shows up often in European jazz circles but remains somewhat obscure here in the States. I only know him from a Pork Pie LP I own and honestly don't remember much about it. I'll get to it for a writeup eventually. The Selfkicker is a very interesting release and it really isn't jazz fusion as you would normally associate the term with. It has just as much in common with electronic, sort of the same crossover territory we hear in the early ECM albums. His primary sidekick is guitarist Toto Blanke and we can here his solo works showing up as well. Even Focus's drummer Pierre van der Linden makes a cameo, along with a couple of Danish guys on rhythm. Side 1 is mostly introspective and recalls some of the French acts of the era. Side 2 starts off in funky fusion territory. It's clear van't Hof is enjoying his new toy - that of the PPG Synthesizer (original 70s analog version of course). He moves to piano recital after this as the album calms considerably down from here. Difficult album to assess as it's largely outside of my interest area in both genres attempted here: electronic and jazz fusion. The intersection seems awkward to me. This album remains without any kind of reissue. Not adding to the CDRWL because his catalog his huge and I'm sure there are others of which I'm not anxious to investigate. (Apr)

Ramsey Lewis - Don't It Feel Good. 1975 Columbia (LP). What was that I was saying about smiling guys on the cover? In any case here we have Ramsey Lewis looking at Herbie Hancock's success and saying to himself "I could do 'dat". "Maybe mix in some smooth soul to up my chances for great success." Bzzt. Covering Earth Wind and Fire's 'That's the Way of the World' is a clue. Funky fusion meets soul. It's a pleasant listen for certain but nothing stands out, and the album is over. I've had a few Ramsey Lewis works come through here, including his iconic The In Crowd, but these are my first notes. Not sure if he'll get a page, all I need is one album for me to keep. And I have another here so we'll see. (It was Salongo and nope). (Feb)

Charles Mingus - Tonight at Noon. 2000 Label M (CD) (1964). Garage sale find from last year. Always liked the Label M releases with what they call a Q Pack. The opening track mixes free jazz with more melodic fare. The remainder is more to my liking though it's pretty standard jazz to my ears. I do like that Mingus can sometimes set a nice groove with his bass. Doesn't seem to be one of his more revered albums, though its reputation is solid. I'm up for hearing anything by him at this point. Hope to find some of his LPs out there in the wilds. (Feb)

x - Gemini Soul - Live: The Liquid Soul Tour. 2007 Pearl Jazz (CD). Thrift shop find from 2022 that I'm just now getting to (Jan). This was an interesting drop and also included Soulive with Karl Denson (that I kept but didn't document for no good reason) and the Emerge album that I went on about recently. There were some other serious obscurities that I since sold off from that same find. Clearly the original owner was a deep diver in all things jazz. This title is in RYM, but not Discogs, an unusual reversal.  The back tray cover has many references to Herbie Hancock, Stanley Clarke, and Hendrix styled funk. Uhh.... no. The music can be best described as contemporary funk jazz. There's nothing fusion about it, it's almost smooth jazz. The trio is led by bassist Andre Marcel Ajamu Akinyele, and his instrument is way up front. Mostly in slap mode. Almost like a bass solo album. The other major player is Jon O'Bergh who plays electric piano most of the time. It's a pleasant listen, but not near at the level of the two albums I started this paragraph with.

x - Pro Midget Mafia - The Beat Inside My Head. 1997 Royal Flush (CD). Thrift shop find from earlier in the year, but just now getting to it (Dec 2024). According to Discogs this is Ska music but I don't hear it that way myself. To me it sounds like Budos Band playing Latin Big Band music instead of lounge funk. Interesting album nonetheless though falls outside of my interest area. Some very tight horn charts here, impressive musicianship. Looks like it's a rare one and sought after, so that worked out at least (and sold in one day).

Eddie Henderson - Sunburst. 2002 Blue Note (CD) (1975). Collection revisit (Dec 2024). A couple of years ago I found Eddie Henderson's debut Realization on LP and noted how much it sounded like Miles Davis and Herbie Hancock. I quite liked it, and it's "hard filed" as they say. My introduction to Henderson as a solo artist goes much further back though, to 2005 and his third album Sunburst. This was long before my enthusiasm for all things jazz funk, and I couldn't remember anything about this. Funny enough even my notes from 2005 suggested not remembering much about it even after hearing it only a few weeks prior, other than it was a "kozmigroov" classic. So here we are again for the first time in close to 20 years. Seems Henderson is favoring funky Hancock more and more. The playing is incredibly tight, and these aren't easy meters to keep up with. I enjoy this album as well, though not quite as much as the debut. I do find LPs like this in the wilds, and I'll reevaluate again. Probably I'd keep it then.

---The following were leftovers from the 2023 journals, so I'll stick them here.

Hazchem - Strange Attractor. 1990 World Wide Records (CD). Collection revisit (Dec 2023). The UK group High Tide had a resurgence in the late 80s and early 90s resulting in a few contemporary albums being released in their sphere. Of those, the only one I'm keeping is Ancient Gates. Hazchem is similar, but on Strange Attractor the focus is on jazz rock, and the primary lead is none other than one-time Soft Machine member Lyn Dobson on saxophone and flute. The vocals are from the same Indian lady as Ancient Gates giving off more than a whiff of Indo-jazz. Tony Hill is only on one track here, so it's a stretch to make comparisons to the late 60s / early 70s High Tide sound. A good album, but I don't need to keep it.

Miles Davis - Four & More. 2005 Columbia (CD) (1966). Collection revisit (Nov 2023). This outing represents the more fiery and upbeat songs from a February 1964 New York show. The mellow tracks ended up on My Funny Valentine. For this stage of Davis I tend to enjoy his softer material. Can get a bit noisy, which I appreciate more in his electric era. The musicians are awesome of course. But I tend to want to be soothed by Davis not irritated. I also lent this to Mrs. UMR, and after one session, she handed it back. Nope. Between us we have enough Miles here already, so this one can go.

BBI. 2008 Soleil Zeuhl (CD) (1996). Collection revisit (Sep 2023). Archival release from group formed from 90s-era Magma and Xaal. Mostly an instrumental power trio very similar to One Shot's debut with guitar as the sole lead vehicle. Fairly one dimensional. There is more of a Zeuhl presence due to Bussonnet's bass style. I have enough material like this, so this one can go. 

* - Keeping for the collection; x - not in RYM / Discogs

Overworld Dreams ~ USA ~ New Jersey

Voyage (2018)

Overworld Dreams are a contemporary progressive rock band who self-describe as "New Jersey-based Prog rockers bringing old school sensibilities to modern Progressive Rock." Sounds like my kind of group!

Where to start? I always like to go to the beginning of the discography and work my way forward over time. Unless there's a strong reason not to do that, which is not the case here. As I hear these new bands releasing quality albums such as Voyage to a very small audience, I feel a sense of gratitude is much needed. From a listening perspective, what if I had discovered a tape from the 80s that sounded like this? I'd be over the moon. Such is the luxury of today and the sheer amount of product that is available to us. 

ProgArchives for their part has Overworld Dreams labeled as neo prog, as does RYM. At first I wasn't so sure of either the 70's reflections nor the neo prog tag. But as the music penetrates, both of these reveal themselves. The keyboard interludes suggest an interest in 70s electronic music as well. Like many modern prog bands, the music can be a bit broad stroked, and lacks the jazzy rhythms that brings the instrumental sections to life. In this way, the term art rock comes forward. It misses the retro prog train due to a lack of analog gear, though 70's sensibilities is not the same thing as 70s's emulation, which I figure Overworld Dreams is well aware of. Nice guest appearance from guitarist Scott McGill, most known for being an integral part of Finneus Gauge, a band that was relatively well known in the late 90s. His solos provide a much needed edge.

As for best tracks, an old schooler like me gravitated immediately to 'The Puzzle'. Tracks 1, 5, & 8 are others I really enjoyed along with the electronic interludes. Good stuff all around. I'll be sure to circle back at some point and capture their next album and beyond.

4/20/25 (review)

S.J.C. Powell ~ Australia

Celestial Madness (1975)

Here's an album that I've had on my curiosity list for decades. I can't remember when or how I'd heard the name, but it never surfaced during the CDRWL heyday despite having it on lists sent to those who were helping me with the site. It's on Albert Productions which is most famous for pressing the original AC/DC albums. Well lookee there, someone posted it on YouTube. Let's dig in.

Stephen Joseph Christopher Powell offers up ten short form vocal tracks and one trippy interlude ('Supernova'). So the prog rock tag is definitely a misnomer here. The music belongs more to the loner folk rock genre, with copious vocals and acoustic guitar being the primary sounds. Powell's vocals are on the airy side, and there is some use of synthesizer giving it that "celestial" feel I suppose. I can certainly hear the appeal as there's a type of collector who will eat this up. Add to that the genuine rarity, and that's how albums like this become sought after worldwide. Not really my bag though.

Apparently Powell went deaf after this recording and that was essentially the end of his career. 

No reissues as of 4/17/25.

4/17/25 (review / entry)

New Jazz Quintet ~ USA ~ New Orleans, Louisiana

High Energy Design (1981)

---12/28/18

New Jazz Quintet play an excellent late 70's / early 80's styled fusion, that is highly melodic, and features great guitar and synthesizer work. I'll put a feature post up eventually. 

---4/15/25

And six plus years later that promise has now been fulfilled. From New Orleans, New Jazz Quintet play a spirited instrumental fusion with guitar and synthesizers in the lead. In fact the band sports two lead electric guitarists giving them a distinctive edge. The synthesizers are from the 70s Moog school of soloing even if they are different brands. 'From the Depths' sounds like a Richard Pinhas interlude from Chronolyse. 'The Ozone Layer' recalls Mahavishnu Orchestra at their most fiery. There are seven tracks and every one of them is a winner, no duds here.

Ownership: 1985 ITI (LP). Second pressing with a different cover.

No reissues as of 4/15/25.

12/28/18 (first acquired); 4/15/25 (review / new entry)

Satwa ~ Argentina

Danza de Amor (1983)

Satwa play a type of commercial rock with period instrumentation. Very much like an American AOR band with ballads and occasional harder edged guitars (think same era Journey) but sung in Spanish. A4 draws on some Yes themes (one chord progression comes straight from 'And You and I') but is slick and very much watered down. Straightforward and rather uninteresting overall. Not neo prog, hard rock, nor jazz fusion, at least as I define those terms.   

11/7/23 (review)

4/13/25 (new entry)

Abakus ~ Austria

Spielzeug (1981)

Not even sure how or where I ended up with this title (probably could say that about most of the albums I've jotted down). Hard rock and prog are the descriptors on Discogs. Hard rock maybe. Prog no - unless having a Hammond organ in 1981 qualifies as such. This is German sung rock, otherwise known as Deutschrock. Apparently they were from Austria. There's some interesting breaks on A3, A4, and B4. The second side is more straightforward overall. Good but inessential album. 

11/7/23 (review)

4/13/25 (new entry)

Crazy Dog ~ USA ~ Delaware

Crazy Dog (1979)

Crazy Dog were one of hundreds of hard rock bands roaming this fine land. This time we're in St Georges, Delaware, a place in the north part of the state on the way in and out of Wilmington. Hard guitar and synthesizers rule the palette of sounds. This is definitely the hard edged bar n' roll / AOR hybrid music of 1979 America, where every band with one unique riff, a half way decent singer, and a standing invitation to the Local 101. Then made a go at a private press hoping that Capitol or Columbia Records would take notice. Put five promo pictures on the back cover with harmless, friendly poses and hope for the best. 46 years later no one has still noticed except those of us crawling around on the floor looking at the dustiest crates - in the back - hoping to find something like Crazy Dog. Once you hear it, you are transported to that time where the bands that did manage to get one album on a major (and one album only) are just as forgotten. Except they go for five bucks today instead of 50. This isn't the album that has aged well like those that gave the middle finger to the establishment. Crazy Dog were the establishment. It's worth a couple of spins (maybe only one actually). Might want to watch James at 16 or Eight is Enough to prep though.

11/26/23 (review)

4/13/25 (new entry)

Help ~ USA ~ Los Angeles, California

Second Coming (1971)

Help were a band from the Los Angeles area (appears to be near Thousand Oaks), and Second Coming is appropriately their sophomore effort. Right out of the gate we're treated to two upbeat Grand Funk styled burners, with killer wah wah guitar. This is followed by two lengthier tracks, where each also features some great guitar among some more typical "west coast" psychedelic rural songwriting. The even longer 'Dear Lord' uses the time wisely to get in some extended jamming. Jack Merrill really goes for the pedals like early Stray, which is awesome to my ears. Many reviewers call this a Christian album, but it's nothing of the sort, confirmed by at least one band member. Dear Lord is an American colloquialism that is the equivalent to the more modern use of OMG. In this one song you hear can also hear them use the phrase in the generic "answer my prayers" way. No proselytizing here. B2 continues on like A3 and A4. Album closes with the appropriately named 'Power' with perhaps too much "Power to the People" chanting and drum circle hippyisms. Overall a very strong early 70s hard rock album, the fast pacing predicting the late 70s variant of the style.

1/15/24 (review)

4/12/25 (new entry)

Klaus Schulze (& related) (1980s and beyond) ~ Germany

Michael Shrieve with Kevin Shrieve and Klaus Schulze - Transfer Station Blue (1984)

---10/2004

‘Communique Approach Spiral’ is out-of-the-box early 80’s Schulze with all sorts of overlaid live percussion, with actual human hands, by Shrieve. Of course, this latter element gives it the life it craves for so desperately on those tired Schulze albums of the era. ‘Nucleotide’ is a five minute experimental ambience and electronic percussion work. The title track is similar to the opener, but a little faster, creating the image of a modern world caught up in fast transportation – perfect for the IMAX theater. Though they throw in a curveball smack dab in the middle of the song - an 80’s style funk groove ala Level 42 (it repeats near the end of the song as well). It’s hilarious in its incongruity. It’s the closer that separated this from the masses. ‘View From the Window’ is an aptly named piece, beautiful in its execution of electronics and rhythmic, yet melodic, cyclical guitar. A great way to end an album. I find it funny the back cover uses the 1977 stock photo of Schulze.

---4/11/25

Technically this is a Michael Shrieve album but it has Schulze's fingerprints all over it. Certainly Michael Shrieve has influence here, and it's a percussive driven album after all. But then again, Schulze was a pioneer in using drums and later drum machines in electronic music. The layered sequencers are all vintage Schulze. The title track illustrates this with Shrieve adding all sorts of acoustic percussion on top of the synths. And I like the Alan Parsons Project-styled funky guitar bit. Brother Kevin plays the guitar and electric piano, though his contributions are more subdued. However his most notable presence is the closer 'View From the Window', a beautiful pensive number that does make one want to look out the window on a bleak rainy day and reflect on one's life. I bought this album when it came out, having been a Schulze fan for about a full year. Has the optimistic feel of the early to middle 80s, when technology seemed like an endless dream. A dream that personified over the course of the decade.

I had forgotten about my 2004 review until I finished today's listen, so you can see I have some differing viewpoints from 20 years ago.

Ownership: 1984 Fortuna (LP). With insert.

1984 (first acquired); 10//04 (review); 4/11/25 (review)

Audentity (1983)

Had some trade credit at a local store to use, and this one came in, so thought I'd check it out again. I say again, as I'm pretty sure I had this exact version in the middle 80s. It's only half the album, as the German pressing is a double. Musically it's precisely what Schulze was up to in 1983, and I was reminded of his live Polish recordings from the same year. His running buddies at the time were all involved: Rainier Bloss, Michael Shrieve, and Wolfgang Tiepold (cello). Nothing groundbreaking here but a great reminder of an optimistic time.

Ownership: 1983 Illuminated (LP)

1985 (first acquired); 10/24/23 (review)

Beyond Recall (1991) 

Klaus tells us this is his 23rd solo album. That would be not counting archival releases, otherwise it would be his 2,300th album. There's really nothing at all wrong with these past-his-prime Schulze releases, but they aren't particularly enlightening either. 77 minutes of Schulze at this stage is purely background music. There's a lot of what sounds like acoustic guitar here, but it's just more synths. I don't have any nostalgia towards this title, as it came along way past my initial discovery and enamoration (not a word, but it should be!) for the artist. My electronic collection grew out of control about 17 years ago, and it's time to trim some of that tree. And this is a low hanging branch.

Former ownership: 1991 Venture (CD)

3/31/11 (first acquired); 3/20/18; 3/18/22 (review)

Inter*Face (1985)

I bought this album right after it came out, while still in college (probably paid too much for the import). Ten years after that, needing shelf space, I sold it in one of my LP catalogs. And now 20 years later, I have the original CD in my possession for the first time. 

Anyway, the reason I sold the album is I had a boat load of Schulze already (if I only knew then how much he was about to release...), and this one seemed superfluous at the time. Perhaps it still is, I dunno. Sure, there's a bit of Klaus-on-auto-pilot going on here, and the tracks linger for longer than they need to, but doggone if this doesn't set the right mood. And the epic long track recalls Schulze's 70s sequencer works, more so than the proto-chill-out of the first side. Plenty of great (real) percussion adds to the vibe.

Ownership: 1985 Brain (CD)

1985 (first acquired); 12/4/16 (review)

Albums from 1980 and beyond that I own and still need to review: Dig It; Dziekuje Poland; Dreams; In Blue. Plus probably dozens of others will flow through here eventually.

12/4/16 (new entry)