Wednesday, February 5, 2025

Daily Journal Posts are now Complete

---2/5/25

2023 is now complete and so is this project. I'm caught up to the present day and 2025 journals are being built real time.

2023 Prog Journal Vol. 2

2023 Prog Journal Vol. 1

2023 Funk / Soul Journal Vol. 1

2023 Hard Rock Journal Vol. 1

2023 Psychedelic / Garage Journal Vol. 1

2023 X-Wave Journal Vol. 1

2023 Fusion / Jazz Journal Vol. 1

2023 Electronic Journal Vol. 1

2023 Metal Journal Vol. 1

2023 Classic Rock / AOR Journal Vol. 1

2023 Folk / World Fusion Journal Vol. 1

---12/16/24

2022 is complete. All the remaining 2024 journals will be posted at the end of the year. I might try to squeeze in 2023 by the end of the year to complete the project.

2022 Electronic Journal Vol. 1

2022 Metal Journal Vol. 1

2022 X-Wave Journal Vol. 1

2022 Fusion / Jazz Journal Vol. 2

2022 Fusion / Jazz Journal Vol. 1

2022 Psychedelic / Garage Journal Vol. 1

2022 Hard Rock Journal Vol. 1

2022 Funk / Soul Journal Vol. 1

2022 Prog Journal Vol. 1

2022 Classic Rock / AOR Journal Vol. 2

2022 Classic Rock / AOR Journal Vol. 1

---11/11/24

Took awhile but I finally finished consolidating the 2021 journals. 2022 is up next. That will also take some time.

For those who visit the site regularly, don't worry, more feature posts are coming. I've been very busy collating through the unsold part of our record show boxes (we did very well, but had a ton of stuff). Also been adding to the 2024 journals, which many of them will be posted at the end of the year.

2021 Prog Journal Vol. 1

2021 Electronic Journal Vol. 1

2021 Metal Journal Vol. 1

2021 X-Wave Journal Vol. 1

2021 Folk / Country Journal Vol. 1

2021 Modern Rock Journal Vol. 1

2021 Psychedelic / Garage Journal Vol. 4

2021 Psychedelic / Garage Journal Vol. 3

2021 Psychedelic / Garage Journal Vol. 2

2021 Psychedelic / Garage Journal Vol. 1

2021 Fusion / Jazz Journal Vol. 4

2021 Fusion / Jazz Journal Vol. 3

2021 Fusion / Jazz Journal Vol. 2

2021 Fusion / Jazz Journal Vol. 1

2021 Hard Rock Journal Vol. 2

2021 Hard Rock Journal Vol. 1

2021 Funk / Soul Journal Vol. 5 

2021 Funk / Soul Journal Vol. 4

2021 Funk / Soul Journal Vol. 3

2021 Funk / Soul Journal Vol. 2

2021 Funk / Soul Journal Vol. 1

2021 Classic Rock / AOR Journal Vol. 5 

2021 Classic Rock / AOR Journal Vol. 4

2021 Classic Rock / AOR Journal Vol. 3

2021 Classic Rock / AOR Journal Vol. 2

2021 Classic Rock / AOR Journal Vol. 1

---8/19/24

Following on from the below note, I've now consolidated all the journal posts from 2020. 

2020 Hard Rock Journal Vol. 1

2020 X-Wave Journal Vol. 1

2020 Fusion / Jazz Journal Vol. 1

2020 Funk / Soul Journal Vol. 1

2020 Psychedelic / Garage Journal Vol. 2

2020 Psychedelic / Garage Journal Vol. 1

2020 Classic Rock / AOR Journal Vol. 3

2020 Classic Rock / AOR Journal Vol. 2

2020 Classic Rock / AOR Journal Vol. 1

---8/2/24

It's been a whirlwind summer. Not only have I expanded the Purple Peak business beyond music (games, videos, toys, electronics, etc...) but I ended up buying about six different collections (probably more). It's been a good year for garage and estate sales - of the kind I haven't seen since 2019. Even the thrift shops have been putting things out again - best since 2021. That has kept me busy going through many albums that aren't part of my core collection, and were naturals for journal entries.

I decided a few months ago to take these journals offline, and group them by music genre. Blogger only allows so many characters in the labels category (200 to be precise), so it makes for a natural stopping point. So rather than post a journal every day, I continue to group them. Some genres will take all year and I'll post at the end, others I go through quicker. I'll post the completed ones soon, and then the others when they are finished.

The Unknown Vinyl project is still going strong, with some really cool recent finds (and more to come). Under the Radar is also up to date - and I have 100's of new bands to check out. I just keep listing them thinking one day I may actually listen to them! I know what I'll be doing in retirement... Speaking of which, yes I still have a job. Two full years in now, it's proven to be a great end-of-career individual contributor job (no more management for me) with lots of flexibility, but it still takes the lion's share of the weekly activities and is my top priority. Not sure when I will pull the trigger for retirement but this is my last gig for certain. I feel like going another year at least (if they still want me lol).

And one more thing - the CD Reissue Wish List project has been resurrected! Right now I'm going through each entry and updating them. When that's complete I'll be adding new titles. I have tons of new items to go through. I'll send out a separate announcement once the older entries are up to date. I had good momentum going, but the sales above redirected my attention. 

Monday, February 3, 2025

2025 X-Wave Journal Vol. 1

*Ministry - With Sympathy. 1983 Arista (MC). With the Modern English below (Feb). I originally obtained this on LP with the 2019 80's collection buy but decided to take the profit, even though I had a solid rating for it. This relisten resulted in a +1, so I'll keep the next LP I find (if I find it...). To be honest even after that first listen some six years ago, I thought this was a different Ministry from the band I knew from the late 80s and early 90s. In fact I thought this band was British and then broke up. Haha. My confusion is common of course. Starting out in Chicago, Ministry hopped on (or was pushed on depending on your source of truth) the synthpop bandwagon. Apparently the duo's heart turned dark and they created a new world for themselves - that of industrial metal. A very angry music indeed. You would never know that by the jolly and upbeat tones of With Sympathy. The interesting thing about Ministry, in retrospect, is just how good they were at New Wave music. It's far more complex and involved than your garden variety dance pop group. A fascinating beginning to a fascinating band. I'm sure at some point I will find their metal albums, one of which I owned on CD many years ago but sold off.

Steve Hackett - A Doll That's Made in Japan / Just the Bones. 1984 Lamborghini (12" single). Found for a buck at a record store in Denver (Feb). At 13 minutes it's really an EP length. As with all of Hackett's Genesis contemporaries - all obvious prog guys - this single belongs to 80s music. A) side is a mix of Japanese music (novelty level), glossy 80s with synthesizers and digital drums, and a nice guitar solo. B) side is similar but leaves off the Japanese angle. Not so bad really, just such a disappointment that none of the Genesis guys would acknowledge their heritage during the 80s.

Modern English - Ricochet Days. 1984 Sire (MC). Grabbed this for free from a local shop in the Springs (Feb). Here's a good test of a band I revere from a nostalgic perspective (After the Snow, an LP I own), who released Ricochet Days during that strike zone (early 80s), but I don't recognize anything from it. Does it hold up and is it collection worthy? Yes and no. For example A3 and B2 are rewrites of 'I Melt With You' and there's this persistent feeling that there isn't much more under the blanket from a creative viewpoint. Elsewhere there's a distinctive turn towards The Beatles baroque psych pop of 1966-67. Englishness as it were, living up to their name at least. All of which is inoffensive but not inspiring either. A reasonable follow-up to their classic work, yet lacking in something. Authenticity perhaps? I like it but won't keep it.

*Missing Persons - Spring Session M. 1982 Capitol (MC). Thrift shop find (Feb). I've had this on vinyl before but didn't take notes. Thinking it was part of that 2019 80's buy. I did decide to keep their next effort Rhyme & Reason. So let's get a fresh take on their debut full-length. Right away I notice a more aggressive hard rock guitar attack throughout, something they most certainly softened on subsequent releases. These guys were from the Zappa camp, so musicianship was not an afterthought. As I continue to say (too often, just in this post alone), these 80s albums work best when I get a nostalgia pull, especially the early part of the decade while still in high school. And there's a few tracks here that bring back that unique period of time. Yea, I'm keeping this, and like with A-ha below, will replace it with the LP whenever I find it in the wilds (this one still goes for cheap).

Madonna - True Blue. 1986 Sire (Canada) (MC). Thrift shop find (Jan). I was pleasantly surprised at how much I enjoyed the first two Madonna's. I was able to appreciate both the nostalgia aspect as well as her artistic abilities from an objective standpoint, now that we're 40 years on from the lightning rod opinions that surrounded her in the early 80s. By the time of True Blue, my nostalgia meter falls off (just in general this is the case), as by then I was deep diving into the European prog underground of the 70s, and not paying much attention to contemporary pop culture. In addition, it's clear the creative well is running dry for Ms. Ciccone.  'Papa Don't Preach' and 'La Isla Bonita" are the two tracks I recognize from here and both I enjoy. Much of the others (not all) sound like filler to support the next tour. I'm interested in hearing her other albums just to see what triggers. Remember that Mrs. UMR was a big fan when we were newly married (hard to believe that was 28 years ago), and she owned a Best Of, which we listened to often in the car on road trips. Today she could care less about Madonna, but I'm still intrigued. Funny how that works. I also found a near perfect LP copy late last year at a thrift shop, and now I can safely move that to the record show boxes.

*A-ha - Hunting High and Low. 1985 Warner Bros. (Canada) (MC). Thrift shop find (Jan). Well... finally. Despite buying multiple 80s collections and thrift shop dumps in the last six years, I have yet to run into a single A-ha album - in any format. I know this Norwegian group better from their super obscure 60s retro band Bridges (which doesn't even get mentioned in their Wikipedia entry) than I do for their obvious hit records. First track is 'Take on Me', which is mid-80s MTV college bullseye material right there. This is exactly the kind of synth pop I enjoy. Energetic, danceable (not that I'm doing that), and melodic. As I often say, these albums tend to work for me when there's a nostalgia play, and that's what we get with Hunting High and Low. I'll hold onto this tape until I eventually find their LP.

Bangles. 1983 Faulty (MC). Thrift shop find (Jan). Before the gals became a hit sensation, they released a single and an EP on private and small labels. Known originally as The Bangs, they shifted on this EP to simply Bangles (one can imagine the double entendre problem). The music here is different than what they were to become. A mid to late 60s garage girl styled group sound emerges. RYM refers to this 80s movement out of Los Angeles as Paisley Underground. Not bad at all.

Depeche Mode - Songs of Faith and Devotion. 1993 Sire (CD). Thrift shop find (Jan). This album is the highly rated follow-up to their lauded classic Violator. Even for a non-fan like me, I kept that CD. But this title didn't stir up much reaction. Whereas I saw Violator as the bookend of the synth wave movement, I hear Songs of Faith and Devotion as a tired retread of ideas with a purposeful move to alternative rock, which is definitely not my music of choice. Given its popularity with the general public, I just have to accept it's good for the style and leave it at that.

Camouflage - Greyscale. 2015 Bureau B (CD). Another surprising thrift shop find. Just like with Surface 10 that is on the DiN label, there's no way I'm passing up anything on Bureau B for a couple of bucks. I had no idea who Camouflage were, but they apparently were legends from the synth-pop scene in Germany going back to the 80s (of course). And that's exactly how I heard this album without any pre-conceived notions. In fact I just pushed it into my car CD changer without even looking at it, and had forgotten they were on Bureau B, trying to figure out why I bought it in the first place. The label's description is telling: "Their music brilliantly combined the icy coolness of Kraftwerk, the pop of OMD and the melancholy gloom of Depeche Mode.". The latter group is what entered my mind first, and funny to see that I just covered OMD. In fact, I think I did find these together last year at the same shop. The vocal tracks are too much of the original scene, as noted below, and that only works with me if the recording is from that era. The instrumentals, however, are more exciting, including one Krautrock styled flute driven number. Much better than OMD's attempt below, but a long way from collection shelf space. (Jan)

OMD - The Punishment of Luxury. 2017 White Noise (CD). Thrift shop find from last year. I didn't even realize these guys were around much past the 80s. And after hearing this CD, they haven't really moved on from the synth pop style. Sounds dogeared to me. Not quite sure how you can advance this style too much, though I guess I could say the same thing about straight ahead thrash metal. Anyway, nothing here for me to hold onto. Music like this only works for me if it's from the 80s, and as a pure nostalgia play. (Jan)

* - Keeping for the collection

Wednesday, January 29, 2025

Deathrow - Raging Steel. 1987 Germany


I'm a huge fan of the last two Deathrow albums, a wonderful example of tech / prog thrash. I didn't personally discover this German band until the mid 90s, and don't really remember them from college. I never bothered to go further back in their discography because I was informed these albums were more simplistic. But I didn't want to pass on the original LP especially since it was right in front of me. Well it's certainly true that Raging Steel isn't a dizzying array of riffs and tempo changes like Deception Ignored. But it isn't brainless either, as there are plenty of shifts and turns. Some of the tracks are too fast for their own good, calling on their Teutonic heritage of Sodom and Kreator. It's also not as heavy as the Destruction album I just posted about, but the guitar solos are much better, perhaps as a result of focusing more on musicianship. The vocals are more "metal standard" without the histrionics you often get with the 80s groups. I think the production could have used a boost of oomph. I found it interesting the album gets more complex as it goes, foreshadowing their next move. I really like this band.


Ownership: LP: 1987 Cobra. Single sleeve. Recent acquisition from What's Left.

12/27/24 (first listen / review / new entry)

Tuesday, January 28, 2025

Destruction - Eternal Devastation. 1986 Germany


Destruction are another band I remember from my college days but never heard until now. Yea, this is one crazy thrash album alright. The riffs are super, non-calculated, and all over the place. Vocalist either spews anger or squeals at the highest register. The only downside are the solos, where he goes a million miles an hour and you can't make out what he's even trying to do. This is not uncommon for the early thrash bands. One can hear the Swiss strain of thrash here including Celtic Frost and Coroner, especially the latter at the time of RIP. Reading some folks complaining about the production. It's raw, thick, and choppy. I wouldn't want to hear it any other way. As with Nasty Savage, I would have enjoyed this album in college.


Ownership: LP: 1986 Metal Blade. Single sleeve. Acquired from What's Left in December (2024).

12/26/24 (first listen / review / new entry)

Saturday, January 25, 2025

Nasty Savage - Indulgence. 1987 USA-Florida


I remember Nasty Savage from my college days, but never checked them out. My loss as this is my kind of metal. Mostly it's off-kilter thrash, with riff after riff coming at you from all angles. "Nasty" Ronnie is your front man, and he's quite the character it would seem. A complete showman, part time wrestler, and part time King Diamond imitator apparently. When he's not squealing, he's singing in an aggressive manner typical of the metal acts of the day. Regardless of his stage antics, it's the music that carries the day here. It doesn't really fit any kind of genre norm, which only makes it more endearing to me. Way more thoughtful than you might initially think. I would have loved this had I picked it up real time. Alrighty, 38 years later, it's in the collection.


Ownership: LP: 1987 Metal Blade. Single sleeve. Cool artwork. Acquired from What's Left in December (2024).

RT had the pic disc of this title in his collection, so I grabbed it. Remember that he was an early 60s Greenwich Village folky nut, so it was always fun to find stuff like this. He also collected picture discs, so that's how he ended up with it. I never played it because I figured the audio wouldn't be that great. It was one of those "I'll get to it eventually" albums. And here we are with the original black vinyl, as What's Left bought a great collection of original metal albums. So off goes the picture disc to the record show boxes. 

12/25/24 (first listen / review)

Thursday, January 23, 2025

Welcome. 1976 Switzerland


Welcome were a Swiss group who pretty much targeted Yes' Close to the Edge as a blueprint to move forward with. Similarities abound considering vocal harmonies, acoustic guitar breaks, bass work, with keyboard sounds and solos performed on Mellotron, organ, and Moog. Basically we're in the same league as Druid on Toward the Sun, but more stretched out, similar to Yes themselves. Side 2 is a step above, and even recalls fellow countrymen Circus on their own magnum opus Movin' On. What Welcome lacks in their original approach, they more than make up for in enthusiasm and their own special ingredients on a classic recipe. Much like Grandma’s marinara sauce – she didn’t invent it, but damn if she didn’t make a good batch of her own!


Ownership: CD: 1997 Black Rills. Jewel case. Contains a brief history and lyrics.

1997 (first listen); 12/06 (review); 1/23/25 (update) 

Wednesday, January 22, 2025

Cherry Five - Il Pozzo dei Giganti. 2015 Italy


I bought this a couple of years after it came out, but to be honest it didn't make much of a mark on initial impact. Not really sure what troubled me, though it could have been "too much of the same thing" - at the same time! I was OD'ing pretty hard on newer Italian prog in the 2010s and I think I was reaching saturation point. A long break has helped me to hear these albums with a completely different perspective.

Il Pozzo dei Giganti doesn't have much in common with the original Cherry Five album. That debut is really the anomaly in the Italian prog sphere, with its lyrics in English and a sound similar to Yes, Genesis, and Gentle Giant. Their sophomore effort (40 years on mind you) is more like traditional prog from Italy sung properly in the native language, with plenty of vintage keyboards. The rhythms are from the stop-start school. Only the new guitarist brings a modern touch, though not unwelcome at all. This new incarnation features the non-Goblin members, and three new recruits. Ten years later, it's clear this was to be a one-off reunion. A very good one though, and worthy of collection status.

Ownership: CD: 2015 Black Widow. Jewel case. Lyric booklet with photos, artwork, and recording details.

10/28/17 (first listen); 1/9/25 (review / new entry)

Monday, January 20, 2025

Bernard Xolotl - Procession. 1982 France


Sometime in 2004 I wrote:

Very spacious, nice sequencer touches, copious use of violin adds a unique blend. A definite Schulze vibe, circa Dune maybe (minus Arthur Brown of course). Getting better with age.

---1/20/25

Known to his mother as Bernard Jean Louis Jacquet, by the time the CD came out, he even dropped his first name, and simply went by Xolotl. He's one of those deep thinker types, who wears white jackets, pink shirts, and white scarves. And describes himself as an "Holistic Artist". You get the idea. Essentially though, he screws around with electronics and was heavily influenced by the Berlin School masters.

The key to this album really is the other guy: "With Daniel Kobialka". Being a non-socialite rube, I had no idea who he was except the liner notes called him an international violin virtuoso from San Francisco. Well, good. But now that I'm out there digging for Classical music myself, his name turns up. Unfortunately not in the banking department, but my eyes always light up at his name, having been etched in my brain by this album. So there's a temptation to state this is what it would be like had Johanna Martzy* dropped in on a Klaus Schulze session.

The truth is, my scratch off notes at the top pretty much define the album succinctly and accurately. A great way to pass the time on a snowy afternoon.

*-Just showing off. Check what some of her original albums go for when you get a moment. I did find one out in the wilds a few years ago, and I'm keeping it.

Ownership: CD: 1993 Erdenklang. Jewel case. Liner and bio notes. Also features an 18:30 minute bonus track that is very much like the album proper.

Former ownership: LP: 1983 Nada Pulse. I didn't own this very long and switched to the CD early on. The bonus track makes it the easy keeper choice.

1992 (first listen); 2004 (notes); 2009; 1/20/25 (review / new entry)

Aurora. 1977 USA-Texas (archival)


Aurora were from my old hometown of Dallas, and were a fusion band containing violin, guitar, and keyboards leading a traditional rhythm section. With that kind of lineup, want to take a crack at who they were emulating? Yep. Mahavishnu Orchestra. And with violin being the primary over the guitar, you can throw in Jean-Luc Ponty for good measure. And they do cover one track from him, while the other nine compositions are original. Apparently they were to reform when this CD was released, but not much came of it.

In reading the liner notes, some of my earliest music memories were brought to the fore. 1977 is when I really got into FM radio in earnest, and as mentioned here in a couple of places, KZEW was the leader for Album Rock. Therefore, it's no surprise to learn that most of this album is made up of a live recording arranged by the station. The first three tracks are studio recordings, though no better in sound quality honestly. In any case I was still a few years from knowing anything about jazz fusion, and didn't recognize the name Aurora when this CD first arrived onto the collecting scene. Grabbed it not long after release, filed it, and here we are some 25 years later for my first revisit. It certainly deserves more frequency than that.

Drummer Martin Metzgar is more known as Martin McCall. He was the drummer in Hands (later era) along with many other local bands and percussion ensembles. Of personal interest, he was also a guest at our house about 20 years ago after seeing one of his performances with a fellow friend.

Ownership: CD: 1999 Shroom. Jewel case. Contains a full history, photos, and newspaper clippings.

2000 (first listen); 1/20/25 (review / new entry)

Tuesday, January 7, 2025

BullAngus. 1971 USA-New York


Hudson Valley's finest BullAngus (name stylized as such) broke onto the American stage with a grittier hard rock sound than most of their contemporaries. The dual guitarists are clearly the focus. BullAngus were certainly of their era, and you might find yourself pining for some cowbell. They also brought a few more ideas to the table than what was expected in North America at this time. Great organ work and even a little recorder (those high school private lessons finally paying off no doubt). They've got that Rare Earth and Grand Funk Railroad white boy funk thing going too. They never go off the leash for extended jamming (though there's plenty of solos), preferring to stay close to the song. 

Interesting to note that the producer says "Riff-rock should be played loud." So they called it that, eh?


Ownership: LP: 1971 Mercury. Uni-pak styled gatefold. Found at the Dallas Record show (1993).

No reissues exist as I enter this post.

1993 (first listen); 11//05; 1/7/25 (review / new entry)

Wednesday, January 1, 2025

The 45 Revolution


As noted in the Happy New Year note, I have a new blog that carries most of my 45 / SP notes. Its focus will be on obscure 45s in genres I like and / or collect.

Check it out!

https://the-45-revolution.blogspot.com/

Tuesday, December 31, 2024

2024 Revisits of prior UMR entries

I created this post primarily as a dumping ground for albums I revisited this year. The purpose is to highlight former reviews that are long forgotten. Worth reading again if you have the time. :-)

I'll try to break these up into smaller batches starting next year.

Iliad - Distances

Mythos - Quasar

Flowers Must Die (3)

Eloy - Silent Cries and Mighty Echoes

Michel Moulinie - Chrysalide

Il Cerchio d'Oro - Dedalo e Icaro

Poliphony (1973)

Snowball - Defroster

The Enid - In the Region of the Summer Stars (1984)

The Morrigan - Hidden Agenda

Troc

Tusmørke - Riset Bak Speilet

Heru Avenger - New Aeon

Ballo delle Castagne - Kalachakra

Barcelona Traction

Caillou

Electric Orange - Netto

Espiritu - Libre y Natural

Sithonia - Confine

Baxter

Socrates Drank the Conium - On the Wings

Gabor Szabo - Bacchanal

Sepi Kuu - Rannan Usvassa

Pierrot Lunaire

La Statale 17 / Emphasis - Sudtirol Rock Scene

Totem - III: Corrupcion

The Perotic Theatre - Dryve

Embryo - Father Son and Holy Ghosts

Dark - Tamna Voda

Discipline - Unfolded Like Staircase

Hidria Spacefolk - Symbiosis

Earthstar - Humans Only

Vespero - By the Waters of Tomorrow

Grovjobb - Under Solen Lyser Solen

Mylla - Vanya

Feliu i Joan Albert

Charlie Mariano with the Chris Hinze Organization

Setna - Cycle I

Sieges Even - A Sense of Change

Superfjord - All Will Be Golden

Syd Arthur - Apricity

The Morrigan - Wreckers

Earthstar - Atomkraft? Nein, Danke!

Ragnarok (NZ)

Satin Whale - Lost Mankind

Earthstar - Salterbarty Tales

Circus 2000 - An Escape From a Box

Circus 2000

Eskaton - 4 Visions

Flor de Loto - Imperio de Cristal

ARC - Fracture

Ragnarok (Swe)

French TV - 11: Ambassadors of Good Health and Clean Living

Dream Theater - A Dramatic Turn of Events

Circus (UK)

La Coscienza di Zeno - La Notte Anche Di Giorno

Galaxy-Lin - Galaxy Lin + G

Eden - Erwartung

Spontaneous Combustion - Triad

Major Surgery - The First Cut

El Templo del Dinero

Hills - Master Sleeps

Galliard - Strange Pleasure

Garden Wall - Assurdo

Buffalo - Only Want You For Your Body

The Tony Williams Lifetime - Ego

Corima - Quetzalcoatl

Lasting Weep - 1969-1971

Catalyst

IQ - Tales from the Lush Attic

Kundalini Shakti Devi

2024 Prog Journal Vol. 4 - Complete

Egg - The Civil Surface. 2004 Virgin (CD) (1974). Collection revisit (Dec). About 20 years ago I wrote: "Recorded four years after The Polite Force, but not really sounding all that different or "modern". The wind quartet being the unusual twist here. When Egg are on, they create some of the most engaging music ever. Like most Egg albums, tends to lose momentum at the end. Seems like Supersister proved you could do the fuzz organ, fuzz bass, drums bit for a whole album and not be boring." This last Egg album has never been an A-lister for me. I sold off my original LP in the middle 90s, and it wasn't until another ten years later that it reentered the collection via this Japanese CD. A1, A3, and B2 are your highlights, but they never go to the next level, more or less regurgitating snippets of the past. And the wind quartet is dull honestly. As genius as Dave Stewart most certainly was, this album seems more like a contract obligation work. Stewart was to regain his mojo soon after with Hatfield and The North.

Frank Zappa / The Mothers - The Grand Wazoo. 1995 Rykodisc (CD) (1972). Collection revisit (Dec). Zappa is the ultimate example of an artist who refused to be pigeonholed. As such, most folks have their favorites by him, or at least those albums they consider worthy of repeated listens. I know there exists fanatics out there who say Zappa could do no wrong, quite possibly because he was so eclectic. For me, Hot Rats is his grand achievement, and then I have a few I really enjoy, and the rest I can live without. The Grand Wazoo is the only one currently in my collection that I wasn't so sure about. And, of course, the album is about as consistent as his career. The lengthy title track is an odd kind of big band orchestra hybrid. Thinking Third Stream here, but more towards the rock side than jazz. This is followed (at least on CD) by a couple of Zappa's typical insouciant numbers, with much silliness interjected into the serious compositions. Honestly I think he just woke up every morning to be a contrarian and to shock people. And he was clear headed about that too (read his book). 'Eat That Question' is my kind of Zappa, and my kind of early 70s jazz rock. He wasn't a pioneer in this field, but it was unusual for a "pop" artist to take on this field of music at the time. Carlos Santana did similar, but with a different focus. Closer 'Blessed Relief" pulls out the gentle melodies of the Hot Rats era but with an almost smooth jazz approach. I think if The Grand Wazoo was an early high school or college discovery for me, I'd be pretty zombie-eyed about the contents. But I was in my late 30s by the time I got around to first hearing it, and already well established mentally, personally, and spiritually. So it's just another album to me. And not a very consistent one. I can let it go. No memories here.

*TEE - Total Edge Effect. 2022 Pretentious Dinosaur. For their prior album Tales of Eternal Entities. I said: "TEE return with their distinctly mid to late 70s warm European progressive rock sound. Flute, guitar, and analog sounding synth lines dominate the melodies, while the rhythm section mixes things up often to keep the music from becoming static. As in the past, you'll hear traces of Asia Minor, Solaris, Gotic, and perhaps more pointedly than ever, the godfather of such a sound: Camel." No changes here. If there's a sound that I instantly enjoy it's the kind TEE peddle. I probably need to stop buying more product, as I have more than enough, but these kind of albums never disappoint. Intriguing Japanese mini-LP type release, but done by French TV's own Pretentious Dinosaur label. (Dec)

Jethro Tull - Heavy Horses. 1978 Chrysalis (LP). Pulled out of a local store's dollar bin (Dec). The last of the 70s Tull albums for me to hear. Oh wait, I still need to hear War Child. In any case, Heavy Horses sounds every bit like the meeting place between Songs From the Wood and Stormwatch. More rocking than the former and less commercial than the latter. Not very exciting for me though.

* - Keeping for the collection

Monday, December 30, 2024

Happy New Year!

I'm going to forward last year's HNY note, and here's what you can expect for 2025:

We now enter our 17th year of UMR. Last year I hinted at retirement. As the year went on, I felt confident I was going to go one more year through 2025. And then in November it looked like I was facing a whole year of drudgery. Financially it wasn't making any sense for me to keep working, and why was I torturing myself? So I pulled the trigger! I'll be officially retired on January 10. It's surreal. But I've been wanting to retire early for so long it seemed I was going to wait until regular age. But I did it at 60. Barring some sort of catastrophe, my wife and I should be set. Purple Peak Records and all the hobbies surrounding that (and other hobbies) will keep me busy. And fortunately PPR just funds my music habit and nothing else. I did have a good career - thank God for that.

So let's dig into The World of Genius Hans shall we?

Introducing... The 45 Revolution. A new year means a new blog! Haha. I was never comfortable with 45s being part of UMR. Maybe some of the journal activity for common 45s, but all these obscurities needed a new home. To be honest, I don't plan on collecting tons of 45s in physical format. Of course I'm out there digging in the wilds, but most of what I find is what everyone else finds - junk. But I do plan on spending more time listening to rare 45s online, and I'll be publishing my findings there. A great substitute for all the meetings I used to have to endure lol. I also have many titles that I never added to UMR. There will be some crossover with the Unknown Vinyl Blog, but The 45 Revolution (so clever Hans, so clever) will only cover genres I'm into, so no country for example...

Unencumbered Music Reviews: This remains my primary blog and readership is solid. I'm determined to make this blog about albums that I own - or used to own. I've been transferring some reviews out of here because of that. With the advent of the journals, there's been less posting activity, though no less writing. That probably will continue, though I still want to document everything in my collection with a feature (eventually). At least the more obscure and rare pieces. I do plan on publishing journals on a more frequent basis, perhaps monthly on those that have a few entries at least.

Unknown Vinyl Records: Now in its 6th year. New discoveries continue to diminish, though I'm hoping my free time will help me uncover some more unknowns again. Seems a lot of folks caught onto my jam, and are doing the same thing. There's a local seller / friend who just moved here that is doing the same thing as me. I encourage you to read last year's entry below for more info about this blog. 

Under the Radar: Last year I stated: "I primarily focused on "new" bands from the 2010's past (the original UTR as it were). But this year I plan to expand the group list greatly with contemporary progressive rock bands, as time allows. There are so many new groups out there that need exposure anyplace they can get it." Well... I only researched and listened to a precious few. And my to-discover list continues to grow exponentially. But again, time was my enemy. I have every intention of being disciplined around newer contemporary artists for 2025. Expect a lot more activity here.

CD Reissue Wish List: The big news here is the CDRWL is back! I haven't made any formal announcements because I'm still cleaning it up. And I have a long ways to go on that front. Eventually, though, it will be my place to document obscurities that I don't own (and some that I do). I've built up a huge backlog since 2015, the year I shut it down. And my research list is enormous. Expect a ton of activity here for 2025! Take a peek now though. It has a new look, and many entries have been updated. It may not really be a CD reissue wish list anymore, but I'm keeping it because of the brand recognition. I should call it something else. I might.

Purple Peak Records: Going into its 10th year, it's the business wing of my hobby. A self funding ecosystem as it were. This year I plan on selling at both Colorado Springs Record shows, while maintaining a couple of bin rows over at What's Left. There's another friend in town who is thinking of opening up a shop (he would be the most knowledgeable of them all), so I may sell a few things there as well. I also have many other CDs, LP,s 45s, cassettes, 8 tracks, etc on Discogs. I did sell some music on ebay this year, with good results, though it's very limited as to what I offer there. Today ebay is where I sell other items I find like games, VHS tapes, toys, etc... All part of the Purple Peak Records umbrella. I have made a concentrated effort to downsize my collection, and that will continue for the next 20 years, if all goes according to plan.

Instagram: I limited my show-off instincts this year. Some of the guys out there, though, have extraordinary collections that have added to my research lists. I'm going to make more of an effort to share obscurities as well. I'd like to include CDs too, though interest levels, at least on Instagram, remain low. That's too bad.

RYM. This social media site is where Genius Hans goes the most public. I have a very good following, and I do enjoy contributing everywhere I can. It's also the best place to keep Lists. I've now been on that site for 15 years.

Gnosis, I think we all could see this coming. Gnosis was based on older technology and now that technology is no longer supported. It needs to be rebuilt and it's anybody's guess as to how long that will take, if it gets done at all. I haven't been in the inner circle since 2005, so other than a couple of internal updates, I don't know any more than you do. I hope we can get the data out there again. 

Talkies Are a Fad. I'm bagging this for now. I do sense it will make a comeback, but I need to give it focus. Too much else going on.

And yes, I still have the restaurant and beer blogs. The former should continue strong and the latter has slowed down considerably.

Let's hope for a great year!

---2024

We now enter our 16th year of UMR. I was able to maintain consistency throughout most of the year, with work being the primary blocker to my music hobbies. I am considering retirement at any time now. Each year I will make a decision as to whether or not to continue. I have committed to working throughout 2024. Of course, maybe my company has a different plan and will dump me anyway lol. So far they seem to be happy with my work, so we'll see.

As for The World of Genius Hans, the projects of 2023 will remain in effect for 2024. Here's what the music forecast looks like:

Unencumbered Music Reviews: My flagship music blog. Essentially I have different intakes that make up the listening regimen. There's 1) New Arrivals - records (LPs and SPs), CDs, and cassettes acquired via thrift shops, record stores, estate and garage sales, trade shows, and online acquisitions. I'm beginning to realize the pandemic was the heyday of the thrift shop. 2021 was a goldmine for me. The last two years have been slim pickings. Seems there are so many people doing what I'm doing, and I have little time to seek. As for online purchases, that gets less every year, though I'm methodically (and very slowly) filling in some LP want list items that are still attainable. It's getting way tougher for me to buy new CDs - generally it has to be a well done reissue, a box set, or a great archival release. 2) The weed out project. CDs have been the focus for the last year, but LPs are now in play too. Considering the latter, I loaded up on commodities and just decided to keep some of them. But other than the hardcore nostalgic pickups, I'll be throwing those fish back in the sea. They sell well at the record shows, so I'll profit as well. As I say in these posts, I just have too much of the same type of music (and because of this, I may not track them here in UMR, since it's a repetitive theme). For whatever reason I was systematically buying CDs without really thinking through it much. Mostly the time period from 1998 through 2006 seems to be where my CD buying was the most undisciplined. As I hear each, I can understand why I kept them. But there's only so much time - and room. What's "most important to me" is what gets to stay. On that topic, 3) I'm also focusing on albums that are very important to me, but I haven't featured yet. I've also added back 4) Online research to my repertoire. 

Unknown Vinyl Records: Going into the 5th year of this blog, it's been nothing but a blast. Gives me something else to look for while digging deep in the shops and shows, and every once in awhile I meet some interesting people because of it. Most of what I find in the wilds is in the country field (though not always - I've found some great psych, funk, hard rock, jazz, and soul too). There is something special about these 1960s and early 70s era country singles. The sincerity of it all is alluring. Colorado used to be a hardcore country state, so finding them here isn't that unusual. Most of the seriously obscure ones I've kept. Because of this activity I've been able to contribute to Discogs many new entries. I've also started including cassettes here as well, given I've found a few unknowns in the last few years.

Under the Radar: The surprise return of UTR in 2023! Last year I primarily focused on "new" bands from the 2010's past (the original UTR as it were). But this year I plan to expand the group list greatly with contemporary progressive rock bands, as time allows. There are so many new groups out there that need exposure anyplace they can get it.

Purple Peak Records: Since launching in 2015, PPR had increased revenues and profits year over year (sounds like a quarterly earnings call lol). That was until last year where there was a noticeable downturn in online sales. However, JL and I had great success in Austin back in May. He sold most of his rarest pieces (some to me haha), so that was a one time event. I only sell locally here at the Colorado Springs Record Show, but do well every time (mostly LPs and SPs). In addition, I expanded PPR's presence at What's Left Records here in town and have a small section in their shop (LPs only). So if you're ever in the Springs, be sure to stop by and check out what we have there. Or send me a note, and I'll be sure to drive down and meet. Our Discogs store will continue as before with occasional eBay auctions and other Buy-It-Now's. I do not overlap sales, so each offers something different: Record show, What's Left, Discogs, and ebay. Discogs has the most inventory, as that's the primary place I sell CDs.

RYM, Gnosis, and Discogs: I meticulously maintain my ratings on the first two, and try to keep the collection details in order on Discogs and RYM. The master copies of my collection all reside on spreadsheets on my laptop. I also have a pile of lists on RYM, and at some point, I hope to create new ones. Working on a Hard Rock list now. 

Instagram: Started to photograph my LP collection - the non commodities. At some point I'll also feature obscure, but awesome, CDs. 

CD Reissue Wish List: The ancestor to all of my music blogs. I closed it down in 2015 for a variety of reasons and that was a good decision. I do however still maintain the older entries - either linking to new posts in UMR / RYM or updating that they have been reissued on CD. The news section of the CDRWL continues on at RYM.

Talkies Are a Fad. My new television and movie outlet. I needed somewhere to document my thoughts. I was using RYM, but it's only for movies, and I mainly watch "small screen" shows. And even on RYM I don't always feel comfortable sharing what I have to say. This will be a fast growing project. But it will accelerate further once I retire. Right now, my viewing hours are strictly while enjoying lunch during the work week. Anywhere from 15 minutes to an hour depending on how my day is going. I've had blog-like ideas surrounding television shows going back to the late 90s. Just couldn't get around to it prior.

I also maintain a restaurant and beer blog, and the former had its best year in 2023 (it's also my oldest blog going back to 2008). And I have a newer blog that is "everything else" (I titled it in German meaning "Get it for Free"). Entirely irreverent. I just have interest in so many things... These are all under a different nom de plume and I keep separate from my music world.

And with that - all the best for hopefully a wonderful 2024!

Saturday, December 28, 2024

Agusa - Noir. 2024 Sweden


Agusa are one of only a small handful of contemporary bands that I would consider buying new product from at this advanced stage of my collection. Last year's Prima Materia is about as great an album as has been released since the early 90s retro prog renaissance first appeared. I didn't expect so much from Noir, as it's purportedly a soundtrack of some sort. With 15 tracks + five more bonus (presuming not part of the soundtrack), Agusa is performing short form music for the first time that I can recall. They've once again reintroduced a Krautrock element, something they first showed their adeptness with on 2021's En Annan Värld. The stylistic brush is much wider here with nods to electronic, spoken word (like the French would do on occasion in a similar setting during the early 70s), psychedelic, progressive, experimental, space rock, chamber, and folk. Make no mistake, this is Agusa at their psychy proggy best, but with more variety. 

The five "bonus" tracks seem more like they appended a new EP at the end. Focusing more on their Krautrock tendencies. Perhaps even better than the album proper. 

Great music overall and I can see this title being a grower.

Ownership: CD: 2024 Kommun 2. Digipak.

12/28/24 (first listen / review / new entry)

Wednesday, December 25, 2024

Ex Vitae - Mandarine. 1978 France


---2/18/11 (CDRWL)

Ex Vitae's solo album, at times, is at the peak of the French jazzy progressive rock genre, recalling such luminaries as Moving Gelatine Plates and Ma Banlieue Flasque. The complex counterpoint rhythms, fuzz guitar, flute, synthesizer solos, violin, the "je ne sais quoi" attitude. But alas, it's not all so consistent, as there's some aimless free jazz and a couple of pointless experimental bits that show the band tried too hard to be artsy. Still, about 75% of the album is splendid. One can only hope for more great tracks hidden in the vaults.

---12/25/24

Alas no bonus tracks were found. One reviewer called out Soft Machine, especially at the time of their freer jazz era. I agree with that comparison. Title track is my favorite of the four though the opener possesses the peak moments. The album remains slightly out of my grasp. I'll probably keep it anyway, as I do enjoy possessing private presses such as this.

Ownership: LP: 1978 private. Single sleeve. Online acquisition (2000).

Album was reissued on CD by Musea (2018) and LP by Replica (2021).

2000 (first listen); 2/18/11 (review); 12/25/24 (update / new entry)

Tuesday, December 24, 2024

2024 Metal Journal Vol. 3 - Complete

*Helstar - Burning Star. 1999 Century Media (CD) (1984). Collection revisit (Dec). Helstar were one the classic metal bands that I got into about 20 years after their debut. Coming from nearby Houston, I probably should have shown more Texas pride and picked this up upon release. But funds were short in my early days of college, and I didn't read anything that stated they were that much more original than any of the other bands emerging during that era. In hearing this CD for only the second time, I can understand that sentiment from the metal journalists of the day. However vocalist James Rivera (known here as Bill Lionel) could scream with the best of them, and his unique approach definitely adds points. The guitar tones and production aren't particularly heavy, even for the era, but the riffs and solos are inventive. And they do manage to throw a few ideas in per song. One could argue that Fates Warning simply took Burning Star as a blueprint and upped the ante on the complexity for their breakout The Spectre Within release. Early classic metal like this still has a place in the collection.

Casus Belli - In the Name of the Rose. 2005 Limb (CD). One of many from that 2016 buy I still haven't heard. I feel that 2025 will be the year I finally conquer my backlog. More on that topic later. Casus Belli are from Greece and they play... European power metal. So - SO many of these bands like this from that era. I give them credit, they start off with two fast paced numbers to get one's attention. No messing around with arty pretension. I like their tones too. But they're about as original as the rest of them. Vocalist has nailed the Bruce Dickinson tenor, and Judas Priest's Painkiller is front and center for the rhythm section. Man, no one wants this stuff today, each cheaper than the last one. Hype sticker says "Power Metal. ...combines murderous riffs* and rhythms with compositorial elegance**, garnished*** with an incredible vocalist and an exceptional guitar player." OK fine, it is a hype sticker after all. *I'm not sure I'd want my riffs to be murderous though, especially live in concert. **Compositorial is a new word for me, so I looked it up, and it's not used correctly here. ***-Sounds like a fine dining table layout. (Dec)

Legend - The Dark Place. 2013 Workshop (CD). Collection revisit (Dec). In the first entry of this journal I bemoan the fact that Legend's comeback effort was well done, true to their early albums, yet it somehow felt too safe and planned out. The Dark Place came a decade later, is their follow up to Still Screaming, and it remains their last studio effort to date. Starting out like a vintage early 80s Judas Priest album, it doesn't appear Legend are going to take too many chances here either. I do like their guitar tone and Mike Lezala has a great voice for metal (he actually sings!). Legend are to be admired for not jumping on modern metal trends in order to stay relevant. They are, pardon the expression, legends in their own right. And it is that legacy they bring forward here. However there's a dearth of ideas or catchy tunes to keep going forward with. Unfortunately. Interesting to note that the final track, though no longer in duration than any other tune, has the right idea in terms of progressing their sound further. Too little, too late. 

The Mystick Krewe of Clearlight. 2000 Tee Pee (CD). Collection revisit (Dec). Instrumental side project of Eyehategod from New Orleans. The gimmick here is that one of the instruments is a Hammond organ. The music is fairly generic stoner metal fare, though not unpleasant. The organ helps with this, but unfortunately it's buried in the mix. Given the sound palette options, one would hope for more of a stylistic brush. It never really unfolds that way and after some 40 minutes, you realize not much as happened. I appreciate the willingness to expand beyond the same ol' same ol' but they hedged their bet too much and played it safe.

Cinderella - Night Songs. 1986 Mercury (LP). Another Colorado Springs pre record show grab for cheap. (Nov). Cinderella were from Philadelphia and their image was pure glam with teased hair, makeup, and standard issue 80's chasin' chicks fare. The music is really nothing of the sort, sounding very much like AC/DC, maybe Aerosmith for a stretch goal. I could have just as easily written this in the hard rock journal, but metal is where the band is generally categorized. I'm sure the band had talent and could have done far better than this effort, but such were the times to get recognized, and Cinderella cashed in just fine. It's not an embarrassing work, but rather mundane in the scheme of things. While gathering for a family Thanksgiving dinner, little Timmy finds the album buried in a nearby desk drawer, and points to the photo confused: "Did you really used to look like that, Uncle Eric?"

Lanfear - The Art Effect. 2003 Nightmare (CD). From a large metal collection I bought last year. Most were sealed as is this. So off to YouTube to check it out first to see if I might want to keep it (Nov). This looks like typical German prog metal. I'm going to read some positive reviews to get me in the mood for this... Alright found some. They enthusiastically compare Lanfear to Queensryche and Blind Guardian. Oh boy, not more of that. Oh yea, more of that. Well let's see if a melody or sequence catches my ear. Something different maybe? Nope. It's certainly well played and executed. I think prog / power metal was a cottage industry in Europe during this era, and many folks made a halfway decent living doing this. As I said in the first Winterlong review below: "They really were spitting these kind of albums out during this era, huh? I missed it all real time having moved on from this breed of prog metal by the late 90s. Looks to have been a prudent move."

Eldritch - Headquake. 2006 Limb (CD) (1997). Collection revisit (Nov). Somehow I ended up with five Eldritch albums, I think because they were deep discounted at some point. I did first hear Seeds of Rage real time, but everything else came much later. The Italy based Eldritch could be seen as the blueprint for European prog / power metal that would become commonplace in the 2000s. The raw and quirky tech thrash of the early 90s morphing into the very professional sound of Dream Theater. I do appreciate their gritty tone, much less friendly than their contemporaries. The use of synthesizers is more atmospheric than showy. Vocals (from American Terence Holler) are from the LaBrie school without the wimpy moments. It's tough to evaluate these albums at such a late stage primarily because I have so much of it already. I sense that if this was one of my first discoveries in the genre, I would have played it numerous times and many of the sequences, breaks, and melodies would be burned deep into to my soul. Super package with a slip case, a full poster of the cover, thick booklet with lyrics, photos, and a short biography. And four bonus tracks. Great value. Despite all of that, just too much of the same thing here for me to hold onto.

Iron Cross. 2001 Iron Glory (CD) (1986). Collection revisit (Nov). After first acquiring the CD, in Dec 2004, I wrote: "More great vintage thrash with plenty of mid tempo pure HM. Similar to the Griffin I spoke of before, though this is clearly more bar/basement. Florida group foreshadowing the impending death metal movement that prevailed, and ultimately dominated there. Iron Cross could also be considered a tangent Savatage (another Florida group) could have taken had they explored more with thrash. Some prog moves and moods with solos closer to 70’s hard rock than 80’s hair metal pig squeal. All the songs are about death, demons, Halloween, etc… traditional bonehead metal fare. Check out the Umberto Eco-like prose on ‘S+M Medley’: “Tight Jeans well they hypnotize, you got pulled tight to the perfect size and you know you should have buttoned your shirt”". ------In hearing this CD again for the first time since, I'll pull back the thrash comment and attribute it more to US Power Metal, like fellow Floridians Iced Earth. Early Savatage remains the best guidepost here along with the classics such as Judas Priest and Iron Maiden. It's a very amateurish take on all these bands, and while I usually reward such endeavors, this one needed a bit more time in the production room. The CD adds bonus tracks from 1991 and 1999, and it appears additional ones from the original recording session. Oddly the band never improved. Were I fortunate enough to own this as an original LP, I'd likely treasure it, considering it's financially truly a treasure. But barring me from running into a copy by accident, the CD doesn't help bring this title to life. I experienced a -1 listen and will let it go.

*Iron Maiden - Somewhere in Time. 1986 Capitol (LP). Collection revisit (Oct). As noted often here, I was a big fan of Iron Maiden real time, so all of their albums from the 80s have a special place in my heart. I bought this LP when it came out in my senior year of college, and I saw them live in January of '87 in Lubbock. I found the ticket stub the other day. Considering that Powerslave was burned deep into my DNA, any album coming after that would be tough to absorb. But Somewhere in Time is a great follow up. RYM has it as their 4th highest rated behind their two recognized masterpieces: Powerslave and Number of the Beast. Seventh Son gets the 3rd spot, but I would beg to differ. I'd probably place the debut and Piece of Mind higher myself, but we're splitting hairs at this point. Generally I read that Somewhere in Time is where they embraced synthesizers. I suppose so... but Iron Maiden were always proggers at heart, something I find myself repeating often in these pages. Somewhere in Time is the first Maiden album that I didn't listen to incessantly upon release, as I was very heavy into the 70s European underground by this point in my life. Which, in a way is good, as I can still experience musical discoveries here. I also own the Sanctuary CD that offers bonus videos. I should actually watch those someday.

Haji's Kitchen. 1995 Shrapnel (CD). Collection revisit (Sep). These guys were from my old stompin' grounds of Lewisville, Texas (Dallas suburb). I bought this not long after it was released and I was quite taken with the sound at the time. I always liked the premise of groove metal, that of a slower thrash, but with heavier guitars and more bluesy solos. Vocals were often a problem, but they aren't really egregious here. The issue I have is the similarity of each subsequent track. The opener on Haji's Kitchen is 'Machine' and it's a great wake up siren. But it sort of meanders from there. They needed more something, whether it be complexity or palette of sound or not-sure-what. They do add some intriguing elements on occasion but not enough to deviate very far. This album is held in high regard for genre fans, and I can see why. But I think I'm going to move on from it.

Winterlong. 2005 Lion (Finland) (CD). Thrift shop find (Sep). From the off, this sounds like a distinct improvement on their debut Valley of the Lost. And it becomes apparent they're copying Iron Maiden rather than the multitudes of Euro power metal neo-classical outfits. And that's a good thing. Unfortunately they aren't exploring that sound further as the namesake Iron Maiden currently is. As the album rolled on, their speed metal roots came to the fore. Gotta do more than that in 2005.

*Ratt (EP). 1984 Time Coast (MC) (1983). From my buddy's garage sale (Sep). Solid debut from San Diego's Ratt, a band that rode the fence between solid traditional metal and glam. Really not that much different from their California brethren Motley Crue. Sort of an updated and metalized Aerosmith. Lots of swagger and politically incorrect sexism. You know, the good ol' days. For a dollar cassette, I think I'll hold onto this one.

Winterlong - Valley of the Lost. 2001 Lion (Finland) (CD). Thrift shop find (Aug). Standard issue neo-classical power metal from Sweden with fast chromatic scale solos and synthesizers going at about the same speed. Vocals are aggressive but non-abrasive. There's some grittiness here that I appreciate, but they're too accomplished to be that interesting lol. It's good, of course, and not painful to sit through. It's just the same ol' same 'ol. They really were spitting these kind of albums out during this era, huh? I missed it all real time having moved on from this breed of prog metal by the late 90s. Looks to have been a prudent move.

Legend - Still Screaming. 2003 Monster (CD). Collection revisit (May). Kind of a bummer that I didn't really get much out of this reunion release. I love the early Legend albums, all pioneers of the original NWOBHM movement. Still Screaming is very much in spirit with those albums too, not a change in direction. But it lacks the angst and naivety of youth. Too stale and rehearsed. It's good, yes, but I don't need more of it.

* - Keeping for the collection

2024 Classic rock / AOR Journal Vol. 3 - Complete

Baby Boom - Driven Too Far. 1987 Cheese (EP). Pulled this out of a local buck bin (Dec), and one of their 45s was stuck in there as well. So I'll be checking that one out soon too. Private pressing from Red Bank, New Jersey. Driven Too Far is what one would just call a rock album (or EP in this case) similar to The Flying Boxcars below. Four straightforward songs with two guitarists who never take the spotlight. As it plays on, I think their spirit guide was Dire Straits. Decent effort.

Eric Quincy Tate - E.Q.T. 1975 GRC (LP). Found this sealed for a buck at the same store in Denver as The Flying Box Cars below (Nov). Don't want to break the seal yet, so I'll check it out on YouTube first. There's no one named Eric Quincy Tate in the band. They apparently were discovered by none other than UMR favorite Tony Joe White, which makes me want to hear their first album. This is their 3rd effort. Based on what little data is out there, EQT were from southern Texas (either San Antonio or Corpus Christi). Eventually they migrated to Atlanta. Technically this falls in the Southern Rock genre, but to me it's more country rock. There's nothing on the first side that caught my attention. The second side is much more interesting. 'Drivin' Wheel' sounds like one of the Allman Brothers bluesy tracks with some fine guitar from Wayne Sauls and Hammond from Joseph Rogers. This leads to the 15+  minute closer 'Big Boss Jam'. Starts off in hard-times blues territory before finally getting into jam-rock mode five minute in. It's mostly a boogie styled jam with plenty of pounding piano. Not my kind of album, but not hard to listen to either. Average for the style.

Queen - News of the World. 1977 Elektra (LP). Also from the Colorado Springs Record Show (Nov). This time from a dealer I only knew from Denver who usually has good deals (as was this). I haven't heard this album since it came out. I was in junior high. There are few albums in the world that have as iconic an opening as this one does. 'We Will Rock You' is still, and maybe forever, played in arenas worldwide. 'We Are the Champions' is no less used in a similar setting, usually after all is said and done and your team won. Despite this, the album isn't nowhere near their most famous, nor as highly regarded. As noted here (too) many times, I'm no fan of Queen. They just don't seem able to bring any kind of consistency, and their theatrical glammy roots always rubs me the wrong way. 

Zebra. 1983 Atlantic (LP). Same dollar bin as below (Nov). Much was made when this New Orleans based band arrived on the world stage, with comparisons to Led Zeppelin and Rush being brought forth. Randy Jackson gives a Plant like performance without the blues edginess. Though billed as a proggy hard rock band, it's definitely AOR. 'Who's Behind the Door', which closes side one, was a minor hit and a very intriguing song, and the one place you can hear the Rush influence. The album closer might be the best track here. 'The La La Song' is probably the heaviest and proggiest thing here despite the fluffy premise. Other than the ill advised boogie rocker 'Slow Down', everything here is easy to absorb. But it all seems watered down. A production boost to highlight the hard rock angle of the band would have gone a long way to obtaining street cred, and an album that would be revered highly today. As it stands, it's a mere anachronism in the time of New Wave synth pop.

The Alan Parsons Project - Stereotomy. 1985 Arista (LP). Found for a buck at the Colorado Springs Record Show (Nov). I've had it before, both on LP and CD, but why not try it again? Parsons' post Eye in the Sky albums all struggle with catchiness. While he dabbled in prog rock, his Project efforts were always more AOR oriented. So when the music fails to be memorable, then there's nothing else to hold onto. The production is way slick and they're obviously working hard for radio hits. I had this rated too low, likely a reaction real time towards my disappointment that this wasn't Eye in the Sky. All the same, it's not something I need to own. I'll likely get a 600% return on my investment. Or six dollars for you math majors out there....

The Flying Boxcars. 1980 Rufert (LP). Found this in the buck bin of a Denver store this past weekend (Oct). I'm sure many of you wondered whatever happened to the perfectly named ex-Cain singer Jiggs Lee. I mean who wouldn't? Turns out he formed or joined The Flying Boxcars. This private press from St. Paul, Minnesota is what we used to call a "rock album". Eclectic without any identity or focus. Recorded (or written) between 1976 and 1980, the songs vacillate between AOR, boogie, hard rock, prog, and whatever else they felt like doing. They clearly wanted to be discovered and receive airplay. I'm guessing they did at least get some local or regional radio coverage. The highlights include the great synthesizer work, the occasional organ, and of course Lee's voice. Unfortunately none of the songs are highlights and the album sort of flies by without notice.

Aviary. 1979 Epic (LP). From the Rocky Mountain Record Show (Oct). Aviary is a large cage for birds, and the guys on the front certainly look like they belong in one! Remember "feathered back" hair? Haha. Well anyway, I had been told this is a very good proggy AOR album so I chanced it. While I can see the allure, the album comes from that strain I don't care for so much - that of Queen and ELO, with a little Beatles thrown in for good measure. Not for me I'm afraid.

El Chicano - Pyramid of Love and Friends. 1975 MCA (LP). Obtained with the below (Oct). Similar to Cinco but perhaps even more transparent on their commercial direction. They want that label money, that's for sure. I would submit that the songs are a bit better here than on the predecessor, but that's not saying much. I'm bummed honestly, expected much more from these. At least I can look forward to hearing their first two albums, if I ever find them that is...

El Chicano - Cinco. 1974 MCA (LP). From the same dealer as the Swallow (Oct). To date I've only heard Celebration, a solid Latin rocker in the Santana / Malo tradition. Two years later, El Chicano has toned down their sound considerably. While Carlos and co. were upping their game with high flying fusion, El Chicano seemed to have an eye on the radio charts. There's almost nothing here that is catchy, and there are very few instrumentals save the closer. All the songs except one are covers. Not a bad album but sounds like a sellout. 

Swallow - Out of the Nest. 1972 Warner Bros. promo (LP). Also from Stanley but a different vendor (Sep). I had this LP about 20 years ago when I bought a few horn rock albums on ebay for deep discounts. I sold it back into the marketplace, but here it is for $2, and I forgot the contents (one more reminder as to why I keep these journals). Let's try it again. Swallow were from Boston and Out of the Nest features no less than an 11 piece band. With such a large lineup one would hope for more music! But alas it's mostly early 70s styled North American classic rock with some country thrown in. A4 is great and the sole Chicago styled brass rocker. B1 isn't too bad either from a horn rock perspective, other than some out of place vocals. The rest isn't for me. Overall average at best.

Foreigner - Foreigner 4. 1981 Atlantic (LP). Grabbed for a buck at the newly minted Stanley record show in Denver (Sep). 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. 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.

2024 Fusion / Jazz Journal Vol. 5 - Complete

Herbie Hancock - Mwandishi. 2000 Warner Bros. (CD) (1971). Collection revisit (Dec). I recently revisited the follow up Crossings and my view there applies here as well. This is an album I want to like but I just don't feel it. And since it's more about spirituality than tactics, then it's imperative I do connect with it. I've tried for some 20 years, but this music isn't where I exist. Doesn't diminish my appreciation one iota, but have to be realistic to what I enjoy.

*The Platina - The Girl With the Flaxen Hair. 2003 Mio (CD) (1976 archival). Collection revisit (Nov). My notes from 2005 stated: "Interesting archive album that mixes flute based rock with more avant saxophone jazz. First half of the album and latter tracks are fantastic, recalling a European sound found in bands such as the French group Triode. The wheezing jazz bits are a bit wearing for me, but probably not for those who normally enjoy that sound." That's pretty much it really. It's definitely more of a jazz album than rock. Plenty of interesting moments but not really any highlights. I'll keep for now as unsold original new stock has reemerged into the marketplace for dirt cheap. 

Miles Davis - Sorcerer. 2005 Columbia Legacy (CD) (1967). Collection revisit (Nov). Yea this one is sort of middle-of-the-road Miles jazz. See Seven Steps review below from what I like from Davis. I pretty much have a full shelf of albums by him, so some of these have to go. The Legacy reissue is excellent of course.

*Buckner Funken Jazz - Demo. private (MC). I pulled this out of my friend's garage sale a couple of months ago. One sided demo tape. Pretty much what it says on the label. This is stage band styled jazz. There's no data on the tape, except for a business card that says Rod Buckner is the leader. The phone number area code indicates he's from nearby Denver. Solos from trombone, trumpet, and saxophone. Electric bass and drums round out the primary sound. The first tune I recognize as a standard, but couldn't tell you what it is. Alright, now let's see if they're on the internet. Yep! They call themselves an old school funk band. Hmm. This isn't the JB's that's for sure. There is rhythm guitar which helps with that angle. Sparse vocals. OK, I recognize the Average White Band on one cover tune. Some really good electric guitar jamming on this track but buried in the mix. The music improves as it goes into more of a jazz rock direction (still not much funk). Looks like they're still playing as of 2024. I'm going to contact Buckner to get more info about this tape (I did - and no response, oh well). (Nov)

*Miles Davis - Seven Steps to Heaven. 2005 Columbia Legacy (CD) (1963). Collection revisit (Nov). Unfortunately I have way more Miles than I need (or perhaps want is the better word). I've already shed a few of his albums, and now comes the next round of cuts. Not to worry, I have every intention of keeping my favorites till the end. Kind of Blue is Mrs. UMR's all-time favorite album and something we listen together quite a bit. Get Up With It remains my favorite electric period album, a strange choice I realize. And many more keepers including Agharta which is where it began with me and Miles. I find myself drawn to Davis' polars, either that of the lounge relaxers like Kind of Blue or the intense ragers that define the Bitches Brew era. Anything in the middle sort of flies by without notice. The opener 'Basin Street Blues' gave me that mellow buzz I crave from Davis. Same with 3 and 5 and... Yea, I have to keep this one too. Yet another great Legacy reissue.

*Freddie Hubbard - Sky Dive. 1973 CTI (LP). Collection revisit (Oct). It's only been a year since I found this in the waning days of Independent Records. But I didn't write anything down and every album has to have a reference point for me to keep. This one passed easily. I really enjoy this period of friendly-to-the-ear jazz, that of melodic compositions and fine soloing. Sky Dive album brings together a slew of jazz A-listers, and the results bring me back to a musical era that needed to last longer. Yet another brilliant thick gatefold cover with intriguing art brought to us by Creed Taylor. In reading his biography, that was no accident. He firmly believed a great package would lead to more sales, and he was proven correct. Too bad not everyone saw that value.

* - Keeping for the collection

Daily Journal Posts are now Complete

---2/5/25 2023 is now complete and so is this project. I'm caught up to the present day and 2025 journals are being built real time. 202...