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. 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 listen); 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 listen); 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 listen); 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 listen); 11/30/07; 9/21/18 (review)

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 of that. 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)

Premiata Forneria Marconi ~ Italy

Jet Lag (1977)

Jet Lag is not the album that most PFM fans hold up as the best example from the band. Generally regarded as their move towards jazz fusion, there's some truth to the allegation, especially in the way the instrumental sections are structured. Side 2 in particular illustrates this. However Bernardo Lanzetti is still on board and he's certainly not content to stay quiet. So it really still belongs to progressive rock and isn't that far removed from the preceding Chocolate Kings. Violin, electric piano, and guitar are the primary solo instruments of choice.

Ownership: 1977 Manticore Japan (LP). With original Italian insert.

3/6/14 (first acquired); 4/11/25 (review)
 

Chocolate Kings (1976)

On Chocolate Kings, PFM were moving on from their classic romantic sound onto a more heavy and English friendly approach. Of course to do that effectively, one had to drag along Bernardo Lanzetti (Acqua Fragile), as he appeared to be the only Italian who could sing in English. Or so it seemed back then. Personally I like his affected vocals, a bit like Roger Chapman. Great album as far as I'm concerned, though I agree it doesn't match their trio of brilliance released prior.

The original Italian pressing features an awful cover, so Asylum altered it for the North American market.

Ownership: 1975 Numero Uno (LP). Poster lyric insert; 1975 Asylum (LP). Sealed.

1986 (first acquired); 2005; 8/3/15; 2/12/22 (review)

Per un Amico (1972)

As strange as it may seem, I was already familiar with albums by Il Balletto di Bronzo, Jumbo, Celeste, Il Volo, Formula 3, and a few others before I heard the Italian language Premiata Forneria Marconi albums. Though they all happened very close to each other chronologically in my life. As noted in the Live in U.S.A. review, my first exposure to Italian prog in general was PFM's Cook, an album that was beyond my understanding at the time, and really isn't representative of the band's foundational roots.

Another quirk was trying to understand exactly what Premiata Forneria Marconi had released. I had some mail order lists - and many entries from Goldmine - a dizzying array of what early PFM might be. This album, Storia di un Minuto, Premiata Forneria Marconi (which I later guessed to be Storia di un Minuto), Photos of Ghosts, Cook, Live in U.S.A., L'Isola di Niente, The World Became the World, The Award Winning Marconi Bakery. I kind of threw my hands up.

Finally I found a copy at a record show, and knew it was something I didn't own - and needed to own. Now the picture is beginning to form. The album today is considered an all-time classic of progressive rock, regardless of the country. It's not a chops heavy release, nor does it feature the usual raft full of meter breaks. Quite simply Per un Amico is a beautiful album. There are few albums that can invoke peak experiences track after track. In particular, 'Il Banchetto' is stunning. Mellotron is a feature instrument throughout the album, along with acoustic / electric guitar, flute, soft vocals in Italian, and violin. Few albums capture the pastoral countryside of Italy like Per un Amico does. It's a timeless classic. Not to say it doesn't have its critics, most coming from the "show me what you can do" camp. That approach is not going to work with Per un Amico. Wait for the sunset, grab a bottle of wine, sit on a hill in the countryside, and view the village below. The music will provide all the color you need.

Also worth noting is that when we started the Gnosis Project in 1999, Per Un Amico quickly rose to the top as the best album. One year after this, an Italian newspaper - I wish I could recall which one, or had at least preserved the article (so shortsighted!) - noticed the same phenomena that despite being an American based project (though global in scope), the Italian prog albums (sung in Italian no less) had risen to the top. Such is the timeless nature of recordings like this. 

Ownership: 1972 Numero Uno (LP). Gatefold; 2003 BMG Japan (CD). Papersleeve gatefold.

1988 (first acquired); 10/10/22 (review)

Live in U.S.A. / Cook (1974)

Truth be told, this was the very first Italian prog rock album I ever heard. Long before I truly "discovered" the scene, I found a used (and warped - much to my dismay later) copy of Cook for $1. It was 1984, and I had no perspective whatsoever to what I was listening to. Because the record was in bad shape, I didn't really form an opinion, and it would be another three plus years before I started deep diving. Once I did that, PFM surfaced quickly, and like just about everyone else, fell hard for their first three Italian language albums.

They were popular in Italy too, and started to gain a nascent worldwide following. ELP's Manticore picked up both PFM and Banco, and made a go at this potential fertile scene. One eentsy weentsy change: Gotsta sing in English fellas. And that was the Achilles' Heel, the music just doesn't blend the same. But at the height of their fame, Premiata Forneria Marconi managed to tour here in North America. The full concert has since been released (and to this day, I haven't heard it), and this record represents an extract of two distinct concerts - one in New York City and the other in Toronto. The first side doesn't offer too much, a typical run through of studio versions, though it's quite spirited, and 'Dove... Quando...' remains beautiful (wisely left in the native language). The allure here is the second side, where PFM shows their tremendous improvisational instrumental chops. Definitely a unique enough album to want to keep.

The original Italian release features a lavish booklet that is half empty - someone didn't pass their Scrapbook class! For certain, the original release has its quirks from a packaging / marketing perspective. For one, I'm rather sure Toronto was never part of the USA. Live in North America would have been the better title. In America the album was retitled as Cook, with a completely different package, understandable on a number of fronts. The back cover is hilarious, looking all the world like your typical smog filled 1974 New York City day. I encourage everyone to see a vintage episode of Kojak (starting with the second season), which was filmed on location in the same era, and compare. The crowd appears to be like a modern progressive rock gathering, ya know - about 40% full. And the audience looks like they all came up from Little Italy or down from the Bronx - word of mouth from the locals apparently. And it's sponsored by none other than Schaefer Beer. The ultimate example of what was later termed a "city beer", it eventually was gobbled up by other cheapy beer companies and now exists in name only with a different formula. In other words not exactly a Budweiser sponsored event, and one wonders if they even managed to get an ad spot in the New York Post, much less the Times. While pouring over the credits, I noticed Tony Harrington gets a Grazie Speciale. He would later form the All Ears label, America's first private label dedicated to progressive rock.

Ownership: LP: 1974 Numero Uno (LP). With booklet as described above.

1984 (first acquired); 1995; 1/19/22 (review)

Albums from my collection to still be reviewed: Storia di un Minuto; L'Isola Di Niente

1/19/22 (new entry)

Golden Earring ~ Netherlands

Seven Tears (1971)

Seven Tears was already the seventh album by the famous Dutch group and yet they were still relative unknowns here in America. It would be another two albums and three years before they finally landed a hit with 'Radar Love'. In fact most of their albums weren't released here either, including Seven Tears (and that remains the case even today). So what does the 1971 version of Golden Earring sound like? Honestly like many of their Dutch progressive rock brethren of the day. Perhaps more towards hard rock or classic rock. The songs are eclectic with plenty of interesting progressions. Great guitar and flute with Barry Hay's distinctive voice. There's some early usage of Moog here too. I tend to prefer Moontan given my familiarity with it, but Seven Tears is in the running for my favorite Golden Earring album.

Ownership: Polydor Netherlands (LP). Later 70s single sleeve pressing.

2002 (first acquired); 12/8/12; 2/5/15; 4/11/25 (review)

Cut (1982)

I always liked the song 'Twilight Zone' which seemed to revive Golden Earring. But that's really all that's here of interest. Fairly standard early 80s blandola.

Source: 1982 21 / Polydor (LP)

6/25/24 (review)

Switch (1975)

Ever since college, I've been curious as to what the Golden Earring albums sounded like after Moontan. This isn't what I expected. A rather mundane set of eclectic rock tunes without much consistency. Nor hooks. It does get better on Side 2, but only enough to take into the good category. Wasted opportunity.

Source: 1975 MCA / Track (LP)

3/15/24 (review)

Eight Miles High (1969)

For many years I had it in my head that their side long version of Eight Mile High was the best rendition out there. But not really. It meanders and features a long drum solo. 'Fraid to say but The Byrds' original is all one needs. I prefer the harder rocking tracks on the original side 1, but I didn't hear enough to keep this.

Former ownership: 1982 Polydor Netherlands (LP)

1985 (first acquired); 2002; 2/15/23 (review)

Albums from my collection to still be reviewed: Golden Earring (1970); Together; Moontan (both versions)

4/11/25 (new entry)

2025 Revisits of prior UMR entries Vol. 1

These are albums already reviewed in UMR that have been recently revisited. I'm in the process of consolidating individual albums into band pages, so that's what you will see when clicking on the link. As noted in last year's massive entry, I'll break these up for smaller consumption in 2025. Ten revisits seems like a good number.

Catch Up - Birth of the Second Life

Radio Massacre International - The God of Electricity

Tomsix - Soundbones

Phlox - Vali

Arbatel - Gamadion

Thors Hammer

Bonfire - Bonfire Goes Bananas

Krakatoa - We are the Rowboats

Arabs in Aspic - Pictures in a Dream

Praise Space Electric - 2 Leaving Demons

Pink Floyd (& related) ~ England

Many consider Pink Floyd the greatest band of all time, and Dark Side of the Moon the greatest album of all time. I don't agree with either assessment (though I own two copies of the album in question) but it's not hard to understand why both of these remain true. Pink Floyd are not an easy band to pigeonhole, and they went through various incarnations of sound and style. Some I love, others I find incredibly dull and boring. I've heard most of their output, including various solo albums. But I haven't documented them all (by a long shot). This post will be updated and forwarded many times before I'm done.

Richard Wright - Wet Dream (1978)

In the not-so-distant past yours truly ran a global project management organization. One of my employees was a good PM as an individual, but not a great one. I had to step in on occasion to handle escalations, and there were even calls for me to let her go. I said "no way" as she's a major key to my team's success, even though I had many better PM's no question about it. They were bewildered by that observation. What she lacked as an individual contributor she more than made up for as a team player. I saw her as a key pillar of why we were successful. Her peers loved and respected her. She is who made the team - a team. And she was 100% supportive of my initiatives even if she struggled to implement them herself. Not for a lack of trying, we're all different. That's how I see Richard Wright. I feel the same way about George Harrison of the Beatles and Led Zep's John Paul Jones. As individuals they're good players and decent songwriters. As part of the larger collective they were the secret sauce. What makes a good music group great is the input of everyone, not just the leaders. And that applies to business as well. So that's my take on Wet Dream. It's a fine, slightly mellow, mostly instrumental album. Nothing special but certainly not a disaster. Wright is a team player not a solo star.

Source: 1978 Columbia (LP)

4/8/25 (review)

The Division Bell (1994)

I've clearly avoided writing about any of the Floyd albums post The Wall (and including that album which I don't like). I'll try to make a concerted effort to get down a few words at the very least going forward. One wonders what the point of superstars like Pink Floyd putting albums out like The Division Bell? It's not a terrible album by any means, but it's just so... so... ordinary. Gilmour gets in some nice bluesy licks, and Mason is mailing it in on the drum kit. He was never a jazzer, but c'mon, I could play drums on this album. And I don't how to. There's some smooth jazz, and more than a few references to Dark Side of the Moon, trying to capture a moment in time from 20 years prior. 30 years on from that, it just looks like a desperate writer turning out the same scripts from their blockbuster New York Times Bestseller from the 70s. Boring and unnecessary.

Source: 1994 Columbia (CD)

2/26/25 (review)

Obscured by Clouds (1972)

The last of the classic Pink Floyd albums for me to reacquire. And the first back out the door. I thought I liked this one more than I do. Atmospheric, but ultimately dull effort. I think had it been totally instrumental psych I'd be more enamored with it. Maybe if I find a cheap cassette or CD I'll hold onto it, but I'll take the money for the LP.

Source: 1972 Harvest (LP)

8/13/24 (review)
 

The Piper at the Gates of Dawn (1967) 

Famous psychedelic album from the creative mind of Syd Barrett. Sort of random in its songwriting approach, it is just that quality that makes this album special. Clearly (ironically) it came from an addled mind. Bizarre and completely out of left field for 1967. Pink Floyd never really sounded like this again once the remainder of the brain trust took over, though there are elements on Saucerful of Secrets. One of a kind.

Ownership: Columbia / EMI Germany (LP). 70s pressing.

1985 (first listen); 7/21/23 (review)
 

Wish You Were Here (1975)

I knew I had this album rated too high. And sure enough a -1 ensued, putting it right into the 11 category. Not first division for me. But I have to say that Richard Wright's synthesizer performance here almost pulled it over the threshold anyway. He really should have spent some time with Klaus Schulze. Who knows what he would have conjured up if he had. 'Welcome to the Machine' still captures my imagination though - a brilliant track. Even with this critique, I'd offer that this album is my favorite Floyd except for album #1 of Ummagumma. A very important release by a band that were selling out arenas and were incessantly played on the radio. Not a commercial album at all, and yet they managed to make it one. Impressive.

Ownership: 2011 Harvest (LP). Outer bag packaging, and all sorts of other goodies like posters and postcards. Much better than my original 80s commodity LP that's for sure. 

1985 (first listen); 2/15/23 (review)

Ummagumma (1969)

If there's a single source that one could point to as the origin of cosmic Krautrock, I think Ummagumma may very well be that album. Along with their Dutch counterparts Group 1850 - and a shoutout to Frank Zappa's Hot Rats - you can hear the sounds that Germany took and ran with in their earliest days, especially the bands circling the Ohr label. Depending on one's view, Ummagumma is a live album with bonus tracks - or one cohesive album with a completely different focus for each disc. I think it's best to take the former approach, and it's the live album that is significant here.

There are very few albums that possess two bona fide monster tracks, but here we have what I consider the definitive versions of both 'Careful With That Axe, Eugene' and 'Set the Controls for the Heart of the Sun'. The former is a textbook example of how to build a solemn mood and then absolutely destroy it with one of the most intense climaxes in history. 'Set the Controls...' is about as trippy a number as you can find on any album, anywhere. If Pink Floyd were some obscure group that few had heard about, and these numbers were played back for the first time, it would be a natural reaction to think it was German made. 'Saucerful of Secrets' is no different from an atmosphere perspective, and in fact one could point to none other than Ash Ra Tempel's Schwingungen side longer as but one follower. The opening track is 'Astronomy Domine', the Syd Barrett composition that makes one wonder what direction would have the Floyd gone with him still at the helm.

The other album could best be described as "guys dickin' around in the studio". Which is not to say the album is worthless, as there's some good moments to be found from all four. They would have been better served to distill the best parts (if they would even know what those were) and disperse it evenly around the album. Similar to what Yes did on Fragile a few years later. Because it's separate like this, and the very nature of the type of music being presented, this is why I think it's best to view them as bonus material versus a part of the main album. Otherwise my score would be lower in aggregate.

Ownership: Harvest (2xLP). 70s pressing. Gatefold; 1986 EMI / Harvest Germany (2xCD). Fatbox. One of the first LPs I replaced with a CD, and even today, that decision makes total sense to me. Some albums were meant to be on CD, and this is one of them. I reacquired the LP later just because.

1985 (first listen); 8/7/22 (new entry)

Animals (1977)

I'm not sure I've heard this album since the late 1980s, even though I've consistently owned a copy that whole time. For me this is the end of the Pink Floyd I enjoy. I never could stand The Wall, an album I've had a chance to revisit in the last three years. I'll never understand its allure beyond a couple of good tracks. Animals, however, is their final non commercial stance. Not to play on titles here, but it's also dog slow. This is music to kick back, turn down the lights, and absorb. It misses the dynamism of its predecessor, and is not an immediately likeable album. Which I believe is the point. Gilmour gets a chance to really shine here, and taps into his late 60s blues repertoire. It's one of a kind in their discography. Even though it's been 30+ years since I last heard it, I felt like I knew the contents anyway. And the rating of excellent remains unchanged. Love the industrial Britain gatefold cover with the flying pig. It's wall worthy really.

Ownership: Columbia (LP). Gatefold. 80's pressing with barcode. 

1985 (first listen); 1/21/22 (review)

Meddle (1971)

Well, you all know this album. Features two excellent proggy space rock numbers in 'One of These Days' (the only song from this album, incidentally, you would have heard on the radio back in the day) and 'Echoes'. And then there's four rather boring folk rock tracks sandwiched in between. These are far more prosaic and backporch-y than the mystical dazed folk of More, for example. They're definitely no longer a psych band by this time. I particularly enjoy the second movement (as it were) of 'Echoes' with its excellent organ and guitar jam. The interesting aspect of this album is just how ordinary it is for 1971. No doubt that Pink Floyd were major influencers throughout the 60s. But on Meddle, they seem to be followers. There's many more examples of music like this from 1970 and '71 that is much more interesting. And this blog is full of them. After this, it seemed Pink Floyd realized this situation as well, and went about making Dark Side of The Moon. I'm not really a fan of the latter, but it's hard to argue that it wasn't groundbreaking. They were leaders once again.

Ownership: 1986 Capitol (CD). In the summer of 1986, I was working as a summer intern at a major US government military defense contractor in the Dallas area. It was a great gig, and I was very lucky to get it. I had mediocre grades (electrical engineering, to be fair...) and not much else going for me. But a very close buddy of mine's dad was one of the four owners of the company (see Al Di Meola's Elegant Gypsy post for more about this friend). Yes, it's true, it's who you know... In any case, I did thrive at the job, and was making serious money for a 21 year old intern. So what does a 21 year old dude in 1986 with money do? He buys him a new stereo, that's what! With a CD player! Wow - I was rich. We forget now how expensive CD players - and CDs - were at the time. Of course since I bought a new player, I needed product to go with it. There was a limited selection of CDs at the time. And, of course, there's no way I'm buying a CD of something I already have on LP. Meddle was one of the few Pink Floyd albums I didn't have at the time. So... it was the first CD I ever owned! In fact, it's so old, it has a smooth jewel case with no ridges. Those have become collectible now too, of all things. 

---1975 Harvest (LP). Gatefold

7//86 (first listen); 8/28/21 (review)

The Early Tours '70-'71

Title is a misnomer, as apparently the music here was all taken from one concert in Amsterdam on June 26, 1971. This is certainly prime Pink Floyd, though it only includes the music they were doing in 1969. I have to trust that the source credit is correct (from Discogs - and I'm sure other established bootleg sites). The titles don't actually reflect the songs here, but most of this is on the live side of Ummagumma, which is my favorite of all the Floyd albums (just disc 1 mind you). The other tracks are an extended version of 'Cymbaline' from More, a track that otherwise I was not familiar with. Its placement here is perfect though. And finally 'Embryo', a track that you find almost exclusively on live bootlegs. It too has the perfect "Cosmic Krautrock" sound - I say that in deference to Pink Floyd being probably the most influential of all bands for that scene. 

Ownership: 1976 Space (LP)

7/7/21 (review)

More (1969)

This is Pink Floyd at their druggy drifty best. This is the sound that Dom perfected on Edge of Time. I'd heard this album back in the day, but I was way too impatient for music such as this back then. I find side 2 the better of the sides, as it really captures the ethos of the times. Mostly acoustic guitar, tribal drums, and low-fi keyboards, with sparse vocals and the occasional rockin' burst. Love the trippy image windmill cover.

Ownership 1983 Capitol (LP) 

7/13/21 (review)

Relics (1971)

I've never owned Relics before, and my memory had this as a compilation. Which is true, but not a typical one. Today you can get most of these on a more modern CD reissue, but I don't have them, so this worked out perfectly. Relics is for fans of 60s Pink Floyd, and that's my favorite era of the band. Five of the 11 tracks are on studio albums, and the others come from rare singles and comps. Just having the studio version of 'Careful with That Axe, Eugene' makes it worth keeping, and the other tracks are great as well.

Ownership: Sounds Superb Belgium (LP)

6/20/21 (review)

8/28/21 (new entry)

Lone Star ~ Wales

Lone Star (1976)

Lone Star have an image problem. Here in America when one sees the moniker Lone Star, they immediately think of Texas, and musically that of Southern or Country rock. However this Lone Star is from the land of Budgie and offer up a distinctly mid 70s proggy hard rock and AOR album. Their sound, ironically, does recall the North American acts of the day. Same period Triumph, Rush (short form), Boston, Journey, Styx, and a host of bands from the great Midwest is where you'll spot the sound of Lone Star. There is some Zep references as well. What I like about Lone Star is their ability to create seperation with a big fat riff in the midst of the song. Vocals are outstanding. They made it to a major US label, but just couldn't penetrate the competitive FM landscape of the era. Which is too bad, as they certainly had the talent, the right sound, and some great ideas.

Remains a cheap record. I pulled this copy out of a buck bin here in town.

Ownership: 1976 Columbia (LP)

4/7/25 (review)

4/7/25 (new entry)