Friday, June 12, 2026
Thursday, June 11, 2026
Puzzle ~ France
Puzzle (1983)
---9/1/10
Puzzle is a well executed all-instrumental psychedelic guitar driven album, released at a time when very little of this style was available on the market. Perhaps only Cincinnati's Ra Can Row could be called out during this era. There are some really sizzling guitar freakouts here. And actually a few well-thought out melodies, which is not something inherent within the genre. But Puzzle has one fatal flaw. And it's the only thing keeping me raving about it: The dreaded drum machine. Had they employed a real drummer, I would enthuse more about it. Naturally enough, the keyboards are all 1980's era synthesizers too, though the guitar fortunately remains the focus. A fine album overall.
---6/11/26
That was the CDRWL entry. I since acquired the LP, heard again, and then filed. So here I am once more (Fish anyone?) to enter into the UMR with a fresh listen.
I first read about this album in one of the many dealer catalogs I received in the 90s. The way it was described, talking up the psychedelic guitars, had me very intrigued. I'm sure they used Heldon as a reference too. No one mentioned the drum machines. Funny how that was a bugaboo for me back then, but today they don't distract me much, if at all. In fact I welcome it - from an historical perspective. For a new album I most certainly would expect a human drummer to participate. But for an album from 1983, I can appreciate the era in which it was released, and the constant looking forward to new technologies. Though it should be mentioned there is real percussion deployed, but the rhythms are primarily carried by a drum machine. And its usage here is pretty sophisticated for the early 80s.
Though a group effort, its nigh impossible to ignore Andre Muller's psychedelic infused guitar all over this. As with LS Bearforce and Ra Can Row (noted above), no one was reaching back into the late 60s and early 70s to achieve that tone. There are only three tracks here, yet Puzzle keeps the music hopping in all sorts of directions. In some ways I'm reminded of Tiemko's Ocean, an album that was to come along about seven years later. And Eric Delaunay had no qualms with throwing in electronic percussion here and there. Overall a really solid album and I enjoyed a +1 listen from this session.
Puzzle is a rather difficult album to categorize. Is it prog, fusion, electronic, space rock? The answer is yes.
This is one of those albums you'd think would be worth a fortune today, but you can still pull this out of France for relative cheap. For my fellow Americans, you'll have to wait for international postal rates to recess back to normal (and they will), then you might want to mail order one. Or fly to Paris and bring it home. Might be cheaper.
No reissues exist as I create this entry on 6/11/26.
Ownership: 1983 private (LP). Acquired in 2013.
9/1/10 (review); 11/27/13; 6/11/26 (update / new entry)
Tonic ~ Germany
This Way (1980)
---Dec 2004
For the late date, this has a remarkably sophisticated sound – similar more to the classic early 1970s Italian prog scene, than anything typically associated with German rock. Complete with choir mellotron, organ, bells, speedy guitar solos, flute, sax and complex meters. When the vocals kick in, I'm reminded of Grobschnitt's Rockpommel's Land era.
---6/11/26
Since that first review, taken from a cassette dub sent to me in the 90s, I'd acquired the LP and squeezed in a couple of listens. A mainstay of the CDRWL (reissued only a couple of years ago), it now makes its debut on UMR.
A2 has a few incongruous Italian styled breaks, with ripping guitar, which comes as a surprise to the listener, as the lengthy A1 is mostly subdued melodic prog with sax. Same with the second half of A2.
B1 and B2 have been mislabeled for years apparently, as no one took the time to look at the record (or listen to the music). The flute solo is clearly on the opening of the flip, and is noted as such on the label itself. The back cover has it listed incorrectly. No idea if the reissues fixed the placement of tracks. To add, B1 is a great jazz fusion number with plenty of twists and turns. B2 has acoustic guitars and Mini-Moog in the spirit of classic Yes. Lots of sophisticated rhythms here. And yea, the vocals have more in common with Grobschnitt than Jon Anderson.
The title track seemingly gets us back to the laid back opener. But then the mellotron and woody bass enters, while the rhythms go oft kilter. The closer is more Genesis than Yes, with melancholic acoustic guitars and a heavy dose of mellotron. Features a fine guitar solo, though he's more in line with a hard rocker than Steve Hackett.
Overall a fine progressive rock album, not at the highest level, but certainly a solid effort worthy of your time.
Ownership: 1980 Peak (LP). B1 and B2 are reversed on the back cover. Acquired in 2015.
1997; 12//04; 2008; 3/1/15; 6/11/26 (update / new entry)
Madrugada ~ Italy
Incastro (1977)
---2/22/07
2/22/07 (review); 3/14/10 (update); 5/30/18
Thursday, June 4, 2026
Heldon / Richard Pinhas ~ France
Un Rêve Sans Conséquence Spéciale (1976)
Third: It's Always Rock'n Roll (1975)
Stand By (1979)
Agneta Nilsson was the first Heldon album for me to hear, and like so many foundational albums, it helped shaped my tastes in music rather than validate them. I was very familiar with Tangerine Dream, Ashra, and Klaus Schulze by this time (early 1986), but little else outside of Germany in the electronic field. When I saw the cover, it seemed like a can't miss proposition. Used import records back then weren't expensive so I took a chance. And was rewarded, though once again it took a long time to fully appreciate.
Heldon were one of the early obscure European electronic groups that I got into during my college years. While in Chicago a couple of years afterward, I stumbled upon the US pressing of Rhizosphere (on Aural Explorer), which is Pinhas' first solo album. Not surprisingly, there isn't that much difference between a Pinhas solo work and a Heldon album. Similar in that way to Edgar Froese and Tangerine Dream in the mid to late 70s. One could argue that Heldon essentially is Pinhas. However, Rhizosphere didn't excite me much on initial impact as it was a bit more static electronic than the more active and full bodied Heldon. Over the years though, I've come to appreciate his dark and heavy sequencer style, which makes the entirety of this album. Though it must be said that Pinhas' tortured trademark 1954 Les Gibson guitar is sorely missed.
What makes this CD more special is the 1982 live material from a concert in Paris. From an artistic standpoint, the two periods of music are incongruous. L'Ethique was the current album then, and Pinhas had more or less shut down Heldon by that point. In effect, it's more of a group effort and the guitar was back out front and center. And the concert is very spirited. While not a perfect soundboard recording, the type of music on display here will distract you from any sonic limitations.
Ownership:5/24/89; 3/16/18; 6/14/22 (review)
A much needed single compilation from one of France's electronic pioneers. In short form, Pinhas proved to be quite the rocker more so than his electronic focused albums with Heldon and as a solo artist. I've heard most of these in bits and pieces, some sitting on cd-r's. So it's really great to have them all in one place.
The first Schizo 45 from 1972 is a real foot stomper. Heavy wah wah bass and guitars and gravelly vocals similar to the guy from Ergo Sum. It's a long way from anything Pinhas ever did afterward, but it would have been a great path to follow, had he chosen to. The second Schizo 45 (1973) is really the first Heldon work and gone are the vocals (though there's narration). The a) side finds itself on Electronique Guerilla with a different mix, but no less haunting. Patrick Gauthier's 'Torcol' is the b) side, and foreshadows Heldon's more progressive rock tracks. Both Schizo 45s are excellent and not to be missed.
The 3rd single is Heldon's Soutien a la RAF. At 15 minutes, it's really an EP (and it's 33 rpm). Released in 1975, this is where Pinhas gets back to his rocking roots of Schizo, and contains heavy Moog sequencing with his patented tortured 1954 Les Paul. One has to laugh that these were released as "singles". Not exactly AM Bubblegum here. The 4th SP release (1976) is where the Perspectives title takes hold. Recorded during the Agneta Nilsson sessions, once again it's more on the rocking side than the album proper.
T.H.X. (1978) was Pinhas' attempt to join in with JP Massiera and others for the Parisian disco set. A long way from New York's Studio 54, France had some very interesting electronic artists playing in that field. Once you get your mind around the time and place - and don't expect Heldon - then this is a very fine 45 as well. And the b) side is more traditional Pinhas solo fare, with Rhizosphere back in the limelight.
The next single is a complete mystery. I cannot find evidence it exists anywhere. There is a scan of it in the booklet, but it's too small to read. From 1977 (and they put a question mark on that too) on Cobra (catalog number 10.019), the single features two edited tracks from Rhizosphere. My best guess is this is a test press that was never released, and was in Pinhas' personal collection. Anyone know more about this?
This is followed by two singles from the East West era (1980). Arguably this is Pinhas' most commercial effort, and brings back vocals and a slight new wave edge. I was harsh on that album back in the 80s, but I found myself really enjoying the music here on this go round. 'West Side' is on both singles and is the same track, so it's only represented once here.
It should be noted that most of these - if not all - are taken straight from the vinyl, and it's obvious at times. All the same, this collection is a can't miss item for Heldon and Pinhas fans.
Ownership: 2006 Captain Trip (CD). Papersleeve. With booklet showing the credits and pictures for each entry here. There is an essay as well, but it's in Japanese. Acquired in 2021.
However, Richard Pinhas' solo works didn't have the same impact on me as his band proper, even though he was the undisputed leader of the group. In this way he deviates considerably from, say, Edgar Froese and his comparable solo efforts to Tangerine Dream. Until recent times, the only two Pinhas albums I kept from the 80s were Chronolyse (where side 2 is as heavy as anything Heldon ever did), and L'Ethique (a diverse but also powerful Heldon-like release). So what was the issue with the others? Well from my perspective the key to the greatness of Richard Pinhas is his ability to mix fat analog synthesizers with searing electric guitar (usually played on his trusty 1954 Gibson Les Paul).
It's this latter element that is missing greatly from Iceland. It is, as the title and everyone else's reviews suggests, a icy cold landscape of droning synthesizers and almost-industrial like percussion. Take away 'The Last Kings of Thule', especially Part 2, and the guitar is entirely absent. In effect, it's a static release, missing much of the dynamism of Pinhas' best efforts. In reflecting back as I hear the CD, the music is quite good for what it sets out to do - basically begging you to put a coat on even during a sunny summer afternoon. 'Greenland' is also a very fine electronic piece, definitely recalling Pinhas' trademark sequencer sound with a fine melody throughout. The 25 minute CD bonus track 'Wintermusic' is basically a long extension of 'Iceland (Part 3)', and if anything, is even more sterile and cold than the album proper.
Overall a mixed effort, worth owning for fans, but I'd save hearing this one until you've digested all of the Heldon's and the two aforementioned Pinhas solo works first.
Ownership: 2006 Captain Trip (CD). Papersleeve. Acquired in 2018.
Ownership:
Unlike the 1970's era Heldon albums, all of which I can unconditionally recommend, the same cannot be said for Pinhas' solo works from the same period. Rhizosphere is a static electronic album, Iceland is as chilling as its name, whereas East West shows Pinhas trying his hand at more commercial material. But two albums stand out: Chronolyse (1978) which is perhaps the best of the lot and the album of today's post: L'Ethique.
L'Ethique was an excellent way for Pinhas to close shop (and he didn't truly resurrect for at least another 10 years). It's a concise summary of his musical career to that point. The four part title track, spread evenly throughout the disc, demonstrates what I think he was trying to do on East West, except with far better results (and it helps immensely that he buries some of his patented tortured guitar into the mix). The two part 'The Wailing Wall' follows down this trek, but is even more powerful, especially the smoking guitar and sequencer runs of Part 1. 'Melodic Simple Transition' represents his pure electronic side. But best of all, is the return of his King Crimson inspired heavy rock jams, as found on the last two Heldon albums and 'Chronolyse'. These are represented by 'Dedicated to K.C.', 'Belfast' and the bonus track 'Southbound' (taken from the Perspective compilation). This is one of those albums that opened musical doors for me.
Ownership:
Ownership:
All of the Heldon albums are special, and the first is no exception. It's more raw and primitive, and that's part of its charm. Moog synths with searing electric guitar work define the album. An anarchic left wing vibe gives it a radical student atmosphere, befitting Professor Pinhas' role.
I found an unpublished summary that I wrote in 2006 about Heldon's early albums: A proper discussion of French electronic music cannot be had without at least a passing mention of Heldon. Lead by the mercurial Richard Pinhas, a professor of Philosophy at Le Sorbonne, and master of electronics and guitar. The early albums, generally accepted as the first three, exude the feeling of the underground - a true rebellion to all things that are commonly accepted. Subversive. One can only wonder what role Pinhas would’ve had in the French Revolution, but I get the impression he would’ve made the history books. And, in some ways, he has made the history books, even if the subject in question are more for connoisseurs than the general public.
Ownership:
Tiemko / Eric Delaunay ~ France
Parade (1992)
When Tiemko's Ocean and Minimum Vital's Sarabandes were released, I was still an LP-first buyer and the only CDs I was considering were the stray reissue of (usually) impossible to find rarities. The label (Musea) said that they had no intent of issuing either of the above on LP. So I needed to make a very important decision: Was I going to maintain that stance and miss out on the new CDs? Or get with the program and join the CD revolution? I chose the latter, a decision I do not regret for a second some 33 years later, as a good portion of my collection remains full of CD-only albums. And interestingly enough, Musea stayed true to their word. Both of these albums remain without an LP release, even though they are single album length. I believe they might be the oldest albums in my entire collection that are in that state (i.e. CD only).
Regardless of the media format, how has the music of Ocean held up? It's been forever and a day since I last heard it, certainly not in the last 20 years. Happy to say it has aged very well for me, and I recognized most of it immediately, indicating I had heard the album quite a bit when I first received it. While collectors continue to mine the 1960s, 70s, and early 80s, it appears no one cares about this era of progressive rock today. But for me and a few others it was an exciting time when bands from around the world suddenly woke up to a style that barely had a heartbeat only a few years prior. I already owned their debut Espace Fini, so I had an idea of what to expect. In those days we weren't so obsessed with hoping that bands would recreate the past with analog only instrumentation. As long as the music was of a high quality. It's not easy to maintain interest for close to 50 minutes with an all instrumental release performed by a trio. But they're a talented bunch and both the guitar and keyboards are well played. And yes, even some vintage Mini Moog can be heard. Veteran drummer Eric Delaunay keeps things hopping to ensure boredom never sits in. Strong melodies, well crafted compositions, some good jamming with undertones of fusion and electronic. A time proven recipe for a good prog album. Music like this receives mucho nostalgia points from me.
Ownership: 1990 Musea (CD). Acquired in 1990.
The album itself is all instrumental, built upon complex structures and themes. There's some fantastic guitar and keyboards here, along with Eric Delaunay's driving rhythms. Special kudos go to bassist Paul Amar who plays a major role throughout. Other than a couple of short keyboard atmospheric pieces, Antagonisme! is an energetic, well produced, instrumental progressive rock album. Well worth pursuing.
After this album, none of the other members resurfaced again, beyond Delaunay himself. He later formed Tiemko and one can easily hear his songwriting and approach being applied. Especially on their debut Espace Fini, but with more modern equipment (for better or worse).
No (legit) reissues exist as I update this post on 6/4/26.
Monday, June 1, 2026
2026 Classic Rock / AOR Journal Vol. 2
Rage - Run For The Night. 1983 Carrere (LP). Yet another one of those UK bands that used to fill up the stacks of the heavy metal bins in the early 80s, and yet were no such thing. They had the right moniker, and came around at the perfect time to cash in on the burgeoning NWOBHM movement. But they took the easy route, presuming their brand of juiced up AOR would attract the same audience that Journey and REO Speedwagon did. Bad move. Even the coked-up American label execs could smell this fraudulent attempt. So they took a pass, and the album was released everywhere else but here. You would think that if a band decides to make radio hits, they'd actually make an effort at decent songwriting. Love these type of 80s hyper sexed album covers, which made total sense to all of us back then, and now are looked at with disdain (now if it was a guy in heels, well then, that's OK). Unfortunately that's the highlight of the release. (6/1)
City Boy - The Day The Earth Caught Fire. 1979 Atlantic (LP). I remember recording this off the radio and came pretty close to buying the LP real time. In 1979 I was very much into this kind of proggy AOR, as noted on this blog many times. Bands like Styx, Alan Parsons Project, and Sweet were still front and center for me. City Boy fits rights into that model. In fact, the excellent title track, which I loved back then too, recalls ELO at their very best. A3 and B1 demonstrates the guitar crunch that is present while mixing in some sophisticated piano. B2 could be considered hard rock and I think City Boy would have been successful in that market as well. A2 and A4 can be skipped over as obvious pop slop attempts. A5 reminds me of Queen and is only tolerable. This all leads to B3, which clocks in at an incredible 12:36, released in an era when that was unheard of for a major label, especially for a band looking for a hit record. This opus, appropriately titled 'Ambition', has the same kind of vibe that Supertramp brought on Breakfast For America, though much more stretched out. I also think City Boy may have heard a little bit of Camel while they were at it. This album is razor thin close to finding room in the collection, just due to the nostalgia and the oddness of the time and place. But there just isn't any track here that I'd insist on hearing a few more times, so I'll let it fly. Too bad it's not worth anything. (5/24)
Shooting Star - Silent Scream. 1985 Geffen (LP). Shooting Star were an interesting classic rock band from the Kansas City area. Their 1980 debut certainly borrowed from megastars Kansas, mostly with radio hits in mind. But the album's closer 'Last Chance' is an absolute banger, and proves they were proggers at heart, just like their leaders. We'll never know for sure, because the 80s were upon us, and the band made just enough of a commercial mark to keep going with their Journey and REO Speedwagon inspired AOR music. I honestly didn't expect to listen to this album in full. The new arrivals box is crammed as it is, not to mention two full boxes of the prog rock collection I obtained earlier in the year, that I still need to get to. So I've just been scanning albums such as this before putting these in the record show boxes. But I heard enough here to keep listening and will append a rating. Of course I won't keep it. I like that the violin is still hanging in there, definitely not an instrument likely to improve their chances for radio exposure. The second side adds more energy which I preferred. Incidentally I found a sealed copy of Shooting Star (1980) last weekend. Feel like keeping it. (4/18)
2026 Metal Journal Vol. 2
Warrior - Fighting For the Earth. 1985 MCA (LP). I've had this one sitting in the listening box for well over a year now. For some reason I thought this was one of those late 70s hard rock / AOR albums (like TKO) that labels like MCA would put out to an audience of 10. The cover looks more like an arena band logo. But it's clear from the beginning this is heavy metal. Strange I'd never heard of it before. But then again, 1985 is waaay late to the party for this kind of straight up metal. Seeing reviews comparing them to Malice, though the latter is supposedly better. To me they both are standard issue for the era. This is the sound of Judas Priest circa 1980-1983. Which is the problem. The metal world had moved on significantly by this time. Had this come out while I was still in early high school (say, 1981) then I could see this hitting a chord with me back then. Nice listen for certain, though nothing here to earn shelf space. (6/1)
Cellador - Enter Deception. 2006 Metal Blade (CD). OK I'm making a determined effort to go through my inventory, especially these 2016 CD buys. Anything that reads interesting, or on a sample sounds interesting, then I put the listen off for another day. Cellador, though from Omaha, Nebraska, was labeled as Euro Power Metal. This could be a quick exit. I can see why they appended the tag, but I found the album much more interesting than that may imply. The music is fast - very fast in fact - and mostly resembles Helloween in nitro mode. The vocalist does a reasonable Bruce Dickinson emulation. Not hearing those annoying choruses that bug me about Euro Power Metal. The biggest issue here is all the songs pretty much sound the same. Not in a boring sense, but the style meter goes from alpha to beta and that's about it. I hadn't initially intended to hear the whole thing, but I found something to do while it played in the background. Nodding my head throughout. Good stuff, but no, not keeping it. (2/26)
6/1 update: I sort of gave up on some of these albums like the above. The same sound time after time. After sampling, I started moving these out without a rating or writeup. I know there are some gems in these stacks, and I plan on mining them out. But the rest is "waste rock" for me.
Warlung - Optical Delusions. 2020 Heavy Psych Sounds (LP). Warlung are from Houston, Texas, and are decidedly a stoner rock band, though much more rooted in the 70s than the 90s. The riffs are from the Sabbath school and the guitar solos more towards the mid 70s style. Vocals have a slight Ozzy tinge and are pleasant to the ear. Warlung doesn't take any chances here, staying in the pocket throughout. Only a few years ago, I would most certainly have kept this LP (great cover), but gotta let go sometimes. Good one for fans of 70s heavy rock though. (2/24)
Sunday, May 31, 2026
Terje Rypdal ~ Norway
Terje Rypdal / Miroslav Vitous / Jack DeJohnette - To Be Continued (1981)
Terje Rypdal / Miroslav Vitous / Jack DeJohnette is an all-star international trio made up of contemporary jazzers doing what they do best: Modern atmospheric instrumental jazz. The cover is indicative of the chilly isolated tones. Scattered and abstract. David Torn was later to explore the style found here on his fantastic Cloud About Mercury album. It's best to go into a listening session with music like this in the same manner as you would with electronik. Sit back, chill out, and the let the music take you to places you haven't been in awhile. Or ever.
Former ownership: 1979 ECM USA (LP). Acquired in 2023. Downsized in 2025.3/24/23 (review)
I first found this album while still in college in the middle 80s. It just wasn't for me at the time. In reacquiring the album and hearing it for the first time in over 25 years, I can understand why. I was expecting a more active jazz rock / fusion, fields of music I was just getting into in my early 20s. That's not what Odyssey is about. It's a sprawling double album made up of primarily late night noirish jazz. The kind that is usually the sole reserve of the saxophone. But Rypdal substitutes his electric guitar and it's thick, rich, and wonderful to hear. As mellow as it comes but with an acidic tone that gives it a back-end bite. Also worth pointing out are the longer tracks that feature hypnotic bass and drums. This aspect recalls Joe Henderson or Miles Davis. Or even fellow Norwegians Tangle Edge, who would apply this same technique many years later but for the psychedelic jam audience. Odyssey is an investment of time, and is best taken in on a quiet peaceful evening.Ownership: 1975 ECM USA (2xLP). Reacquired in 2022. First purchased in 1986.1986; 12/21/22 (review)
Like with John Abercrombie's Timeless, I thought I'd already heard Rypdal's 3rd solo album What Comes After. But this listen confirmed that I had not. One of his more abstract works, the album is very spacious and a bit on the noirish side. Great for late night solo listening. There's a bass heavy focus, while Rypdal adds plenty of atmospheric electric guitar. Fine album if in the right mood - which apparently I was.Former ownership: 1974 ECM USA (LP). Acquired in 2021. Downsized in 2026.12/18/21 (review)
Monday, May 25, 2026
Saxon ~ England
Saxon (1979)
I was an early adopter to Saxon, having bought their quirky debut album, followed by Wheels of Steel, Strong Arm of the Law, and Denim and Leather. And that was it for me. Didn't even follow the band out of high school. It was only within the last seven years that I completed their early 80s classic run with a purchase of Power & The Glory (LP). What they did after that, I really don't know. I've certainly read a lot. It's apparent that Saxon made a go at "capturing" the US market, to no avail (as to be expected). And at some point in the mid 90s, got back on their (iron) horse and went about making music in their former early 80s NWOBHM style, but updated to modern heavy standards.
From my perspective, one of the issues that plagues Saxon is their image and moniker. If one didn't know better (and I didn't at first either), you'd think Saxon to be a band similar to Manilla Road, capturing the ethos of Medieval times, and creating mysterious semi-progressive heavy metal. Nope. Saxon are a biker band, through and through. A creative one, yes, but they're very much in your face metal.
If Unleash the Beast (1997) is an example of what I can expect to hear going forward, then I'm in store for at least 11 more great albums! Band leader and lead singer Byff Byford is now 70 years old, and by all accounts, he hasn't lost a step. And right next him is his trusty aide and guitarist Paul Quinn, of which the same can be said. Right from the get of the title track, you'll know that Saxon are back from the grave, and packing heat! Every track here is classic NWOBHM music: Melodic, yet heavy riffing, with high quality guitar solos. Byford sounds like Byford, his distinctive higher pitched voice soaring peacefully (he's no screecher) over the racket underneath. Unleash the Beast is yet another pleasant surprise. Obviously I need to hang out more in the CD bins to see if I can find more of this! Interestingly enough, this is the only Saxon album I own - or have ever owned - on CD.
Ownership: 2007 SPV (CD). The hype sticker is hilarious: "Bonus Tracks, Unseen Photos, Liner Notes, Original Artwork, New Booklet!" OK, the last two are probably fair. Bonus tracks? Yes, there are two three minute live cuts. Liner notes? A very small paragraph written by Byford. Unseen photos? There's only one photo! lol. Acquired in 2021.Thule ~ Norway
Natt (1990)
Ultima Thule (1987)
Ownership: 1987 private (LP). Acquired in 1988.
Thursday, May 21, 2026
Sweet ~ England
Sweet VI (1980)
Action / Medussa (1976)
Sweet were one of my early favorite groups. Level Headed was their new album at the time and 'Love is Like Oxygen' was the track getting regular airplay - a song I enjoyed immensely. We'll get to that soon. On the first day someone could shuttle me to the mall (I was only 13 at the time), I waltzed into the two record shops to purchase the album, only to find they were sold out. I decided to buy the album before it - Off the Record. I enjoyed that album (to be discussed another day), though I won't say I was blown away by it. I had one friend back then who was also into music like I was, and he did find Level Headed. Neither of us were overly impressed, and I decided to forgo buying my own copy. Not long after, I bought Desolation Boulevard (US version of course) and Give Us a Wink and those two solidified my early fan status.
Since I recently made the decision to pick up old commodity LPs from my youth (must be found in a store, and very inexpensive - or trade), I thought Level Headed would be an early score. As but one example, I walked into a local store and bought a stone mint Saga's Heads or Tales for $4 at the beginning of this adventure. But Level Headed had proved to be elusive. Again, I'm not going to mail order these things - that would have been too easy. Finally, after two years, I secured a copy - and it was properly discounted in the budget bin. Perfect.
So what of Level Headed, and where did my initial resistance come from? Right from the beginning, that's where. Even today, I find little to embrace about the opening three tracks. They're OK of course, but the melodies aren't striking, and gone is the hard rocking Sweet that I enjoyed. It's not until 'Fountain' that things begin to improve dramatically. Then comes 'Love is Like Oxygen', one of God's gifts to music. It's such a bizarre tune really - and how it became the "hit" off the album is even more puzzling. Starting off with power chords (finally!) Sweet sings in a high pitched but odd styled harmony. This is followed by some Brian Wilson like mellow interludes that raise the hair on your arm. The mid section then shows that Sweet may have had a fondness for Camel - as they totally go prog here. This leads back to the power chord section. And finally, the album closes with a cool funk bit (que?). What the heck did I just hear? None of it makes sense, but I think it's brilliant. No wonder I was drawn to this at a young age. Side 2 starts of in a Gryphon-goes-pop manner (which by that time was the sound of Gryphon anyway). There's a couple more middling tracks which leads to the other great track from the album, it too a side closer. 'Air on 'A' Tape Loop' is about as strange as 'Love is Like Oxygen'. This time it's a groovy instrumental with only harmony vocals on top - as if Deodato had walked in for a cameo.
Level Headed is not a great album by any means, but there's 13 minutes of brilliance and about 20 minutes overall of excellent material. That's plenty good for me.
Ownership: 1978 Capitol (LP). Gatefold with lyric inner. Acquired in 2021.
Ballroom Blitz / Restless (1974)
Osamu Kitajima ~ Japan
Dragon King (1981)
Picked this one up at an estate sale last week, and it's the first Kitajima album for me to hear outside of Benzaiten which is reviewed below.
A1 starts off with some disco strings and Japanese instruments. Closer to a novelty act than the seriousness of Benzaiten. The track improves though with some world fusion sounds. A2 is a highlight featuring some excellent Shakuhachi (Japanese flute).
Then it's time to pay the bills lol. The next two tracks sound more like Peaches & Herb with Japanese traditional instruments sometimes used to supplement. There's the difference between 1976 and 1981 right there. No bueno.
B1 is a return to form and, like A2, is a highlight mixing jazz fusion with Japanese culture. Then the poppy vocals reappear for the rest. I think what Kitajima was trying to achieve was a noble pursuit. However, the mix and match of styles is hokey at best. It's way too commercially oriented for fusion fans to take seriously. And it certainly wasn't going to find its way onto FM radio either. A failed experiment.
Source: 1981 Arista (LP)
5/21/26 (review)
Benzaiten (1976)
For the CDRWL I featured some extremely rare albums by Toshiaki Yokota (Primitive Community) and Rock Joint Biwa (Fulukotofumi). Kitajima's debut album fits squarely in the same mold. This is truly a world fusion - a melting pot of Western rock and Japanese indigenous music. Very few have pulled it off so well as Kitajima does here. Either they fall prey to new age sappiness, or worse, move towards amateurish exploitation. This is a serious work, and the type of rock influenced world music that still hasn't been explored much at all. I for one would like to hear more.
Ownership: 1976 Antilles (LP). Acquired in 1990.
1990; 2/23/11 (review)
5/21/26 (new entry)
Wednesday, May 20, 2026
Klaus Schulze (& related) (1980s and beyond) ~ Germany
Dreams (1986)
Michael Shrieve with Kevin Shrieve and Klaus Schulze - Transfer Station Blue (1984)
Audentity (1983)
Beyond Recall (1991)
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). Acquired in 2016.
1985; 12/4/16 (review)
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