Carol Of Harvest ~ Germany

---8/21/01

Carol of Harvest are one of the legends of the progressive rock collecting world. Released on the ultra-private Brutkasten label, Carol of Harvest were destined to be a big collectors item. Frequently praised as the “best prog folk group ever”, the foundation was laid for dealers to fetch four-figure sums. “Acid guitar, long tracks and gorgeous female vocals”. All things considered, Carol of Harvest are a competent late 1970’s German progressive rock band with a slight folk edge. I hear similarities to fellow-countrymen like Rebekka and Werwolf, both considerably less expensive in the day before the CD reissue. Basically, Carol of Harvest blend female vocal-led folk melodies with drawn out prog rock arrangements featuring Moog synthesizer and some complex meters. Throw in some loud acid guitar solos and you have the makings for a super-imaginative record dealer to hype this puppy through the roof. This is no lemon mind you. Plenty of good ideas and original playing to entice the most cynical prog rock fan.

---8/22/26

Ha - look at that, I'm hearing this album again almost 25 years to the day of that review. Totally random. There was another listen mixed in there, as noted on the bottom line. You can sense from my original review a bit of the cynicism of my view of the record collecting world at that time. To correct one thing I said above, Brutkasten wasn't really a label, but one of those DIY imprints like Century, Rite, FLVM, and others. Essentially a private release from a known pressing plant. I'm also dialing back the prog rock tag towards folk rock.

For the music itself, one can appreciate the enthusiasm it garnered back in the day, as the music fit the UK psychedelic folk rock genre like a glove. And the additional synthesizers only add to the allure. For whatever reason that particular strain of folk was extremely popular with record collectors back then. In particular Trees was a leading light. And Carol of Harvest "avoids" the Krautrock sounds of the Pilz era bands like Emtidi and Broselmaschine. The music is very much what one would expect to hear in England from 1972. So the original date puts it out of time and place, yet another bit of excitement for collectors.

For my tastes, it's a rather basic folk rock album with shrill female vocals, excellent psychedelic guitars, and fine synthesizers. Brass tacks I realize, but I never derived much out of the album. I could probably "force" myself to love it, but I could do that with many albums if I tried hard enough. If you're tastes run towards folk rock, I would highly suggest you consider hearing this album. It is a cut above the norm.

As for its rarity, it's truly scarce. Discogs alleges that 69 people own it. That's nonsense. Most of those are the 1994 reissue for certain. Even the copies that sold were either that reissue, or missing the record altogether. The guy who has the $11,000 copy, while high, isn't crazy. So yes, buy the reissue. I'll probably let this go, but I just realized I never added to UMR, so here it is.

Ownership: 2001 Second Battle (CD). Digipak. Booklet with lyrics and photos. Acquired in 2001.

First copy: 1994 Brutkasten (LP). Acquired in 1994.

1994; 8/21/01 (review); 5/23/18; 8/22/26 (update / new entry)

Pat Martino ~ USA ~ Philadelphia, Pennsylvania

Joyous Lake (1977)

I'm still relatively unfamiliar with Martino's canon of work. But I was quite surprised to hear the energetic heavy guitar jazz fusion coming at me from the opener 'Line Games'. A little late in the game to get rolling on the Return To Forever sound, but I'm not complaining. A2 is more what I had expected here. Something like a jazz rock version of Gabor Szabo. The rhythm section is very busy, which I like. The rest of the album is mostly like this, with the exception of B1, which brings the heavy funk. Clearly inspired by Herbie Hancock. The bass and drums on this album is very complex, and I also appreciate the analog synth tones. Martino is picking away rather speedily. Intriguing album for sure. I'll hold onto it for now.

Ownership: 1977 Warner Bros. (LP). Acquired in 2026.

8/19/26 (review)  

El Hombre (1967)

I was a little bit familiar with Martino as his name has been bandied about when talking the kosmigroov genre, a style that I'm tangentially interested in. The one previous album I heard didn't leave much of a mark, though a relisten most certainly is in order. But this one did leave an impression. Immediately I was reminded of Gabor Szabo and Wes Montgomery, as Martino gently leads these jazz instrumental tracks with his fine lightly amplified guitar style. Complimenting him on the album are a five piece including no less than three on drums and percussion. But the two members that put this one into the excellent category are organist Trudy Pitts (check out the cover of Introducing the Fabulous Trudy Pitts - my kind of woman!) and Danny Turner on flute. The latter is known more for his saxophone work, but the instrument is not to be found on El Hombre. Wonderful late evening listening, a superb chillout close to the night. This was Philadelphia native Pat Martino's debut, though as the original liner notes point out, he was a veteran by this point. 

Ownership: 1985 Prestige (LP). Acquired in 2021.

1/10/21 (review)

1/10/21 (new entry)

Lenny White ~ USA

Streamline (1978)

While I'm crankin' on jazz fusion albums, might as well get ol' Lenny in on the action. It's clear that White wants to get his funk on here. Complete with pimp hat. Were you ever curious what a funk cover of the Beatles' 'Lady Madonna' would sound like with Chaka Khan on vocals? I guess I hadn't thought about it either but White goes forward with an answer anyway. A3 follows with an instrumental hard rock tune. OK then. A4 reintroduces us back to jazz funk with female chorus vocals. The side closes with a 22 second guitar-drums jam called  'Spazmo Strikes Again'. Clearly the man has an unhinged imagination.

'Time' opens side 2. Wanna guess the style? You win - jazz funk - this time with male vocals. 'Pooh Bear' represents the kind of instrumental jazz funk I've been getting into these last six years or so. Breezy, optimistic, yet complex in its own way. Hearing a bit of George Benson as well, especially the guitar solo. B4 was getting a bit Love Boaty for me until Nick Moroch plugs in and wails on the guitar. He's the same guy providing the hard rock on the flip. I don't recognize his name, though he has an impressive resume of contributions according to Discogs. In any case, it's the longest song, and not the highlight for certain. Too smooth jazz. For those who are patient, B5 finally delivers on the Lenny White fusion cred.

Tough album to grade and evaluate. It's unfocused but largely pleasurable - in its own way, though. Can't fault him for trying for something different, and funk seems to be his preferred genre. I might grow into it more. Worth holding onto, despite purging others similar. Paid a quarter for it, and it's not worth much more sadly. And it's a super nice copy.

Ownership: 1978 Elektra (LP). White label promo. Acquired in 2026.

8/17/26 (review)
 

Venusian Summer (1975)

Venusian Summer is one of those fusion albums that fell through the cracks as I was motoring through multiple titles over a decade ago. Since new copies of the CD are going for the same price as a pack of bubblegum, I thought I'd re-engage.

This is Lenny White's first solo album, and he must have called in all his markers, as you'd be hard pressed to find such a list of fusion all-stars on one album. All but his comrades in Return to Forever are here, except Al Di Meola who rips on the final track trading insane licks with none other than Larry Coryell. The music isn't straight fusion, but rather has a strong funk bent. As well as prog rock, as heard on the title track. 'Mating Drive' is a burner, one of the heaviest fusion pieces you'll ever hear. Larry Young is a beast on the organ, while Doug Rauch and White goes nuts on the rhythm. Meanwhile Ray Gomez absolutely shreds on the guitar. Mid 70s jazz fusion at its best.

Ownership: 1999 Wounded Bird (CD). Acquired in 2025.

8/11/07; 4/2/14; 12/29/25 (review)
 

The Adventures of Astral Pirates (1978)

One presumes Lenny White was hitting the wacky weed pretty hard during this era, if we are to absorb the concept, cartoons, and storyline of The Adventures of Astral Pirates. Well, no matter, as White has turned in a powerful, mostly instrumental, jazz fusion album not that far removed from his other gig with Return to Forever. So Chick Corea was into Medieval knights and White was into alien pirates from antiquity. Like I said, could have been the bud.

What makes The Adventures of Astral Pirates such a great album is the solid compositions, strong melodies, some indigenous global sounds, and - to be expected - expert musicianship. It would be easy to laugh off a work such as this, but doing so would be at your loss. And what I respect most about White's album, is that he doesn't feel the need to remind you that he's a monster drummer. Other than a small bit on 'Assault', this is truly ensemble material. A good one that I feel is often times overlooked.

Ownership: 1978 Elektra (LP). Gatefold. Complete with outrageous story and artwork. Acquired in 2008.

2008; 6/3/14; 7/10/18 (review)

7/10/18 (new entry)

David Sancious ~ USA

Forest of Feelings (1975)

Time to spin up a David Sancious page. He's an artist I've been aware of since the 1980s, but haven't really dug too deep into his catalog. I did write a couple of journal entries, which we'll process below.

I've long been a fan of Windchase's 'Glad To Be Alive'. I did not realize Mario Millo had borrowed the primary melody from the opener here 'Suite Cassandra'. I'm not sure he knew it either, but likely subconsciously reproduced it, and embellished with vocals. I tend to categorize Sancious with jazz fusion, but here he's clearly operating in prog rock territory. Comparisons to ELP are largely superficial, only in that Sancious gets in plenty of analog keyboard solo time over a solid rhythm section. The music is more towards what we might hear coming out of Western Europe. That is to say, less commercial, but very melodic all the same.

A3 is a proto new age piece, somewhat like Vangelis and Deuter. A4 is a crazy classical interpretation. I could swear there was mellotron on it too, though AI is refuting that claim.

Side 2 is, if anything, more energetic and prog oriented than the flip. There's hints of fusion here, primarily in Sancious' keyboard and guitar solos. As with Just as I Thought, I'm compelled to give this a +2. Considerably better than my memory had it.

Ownership: 1975 Epic (LP). Acquired in 2026.

8/17/26 (review)

David Sancious & Tone - True Stories (1978)

Alex Ligertwood's vocals are annoying here and the progressive rock attempt is too forced. I was somewhat disappointed in this effort, especially considering I like his albums prior. (I'll try to get some more words around this. I think the LP is still here, nobody bought it lol).

Source: 1978 Arista (LP) Promo.

6/21/24 (review)

Just as I Thought (1979)

David Sancious was always an odd bird, sitting somewhere in no man's land between symphonic progressive rock and jazz fusion. Just as I Thought closes the book on this phase of his career. His next album The Bridge is nothing more than introspective piano numbers. Not for me. But this album is excellent. The title track and 'Suite (For the End of an Age)' represent the progressive rock numbers. 'Valley of the Shadow' is highly unique, a mixture of fusion, prog, and electronic. For me, the highlight of the album. Opener 'Run' and the last two tracks offer up the typical fusion of the era. The vocal track 'Again' and the acoustic 'The Naked I', can be skipped, and they're conveniently back to back. This isn't my first time to hear Just as I Thought, and this ended up being a +2 listen.

Ownership: 1979 Arista (LP). Acquired in 2021.

5/10/21 (review)

Also own: Transformation; Dance of the Age of Enlightenment

Previously owned: The Bridge

8/17/26 (new entry)

2026 Fusion / Jazz Journal Vol. 4

*Stanley Clarke. Epic (CD) (1974). I've had this title in and out of the collection, both LP and CD, going back to 2014. This listen convinced me to keep it. The music is an extension of where Return to Forever was on Hymn of the Seventh Galaxy, and one could see this being the album released instead of Where Have I Known You Before if Bill Connors had stayed with the group on guitar. Jan Hammer and Tony Williams certainly play in a different style than Corea and Lenny White, giving it a different dimension. This isn't as much a "solo" effort as his later works. He does sing on one track which is more cute than offensive. Solid prog fusion album. Thought about creating a page for Clarke, but for now I have three albums in the journals, which seems to be the right place unless I continue to add more. (8/16)

Lonnie Liston Smith - Exotic Mysteries. 1978 Columbia (LP). As with A Song For The Children, I'm including this title in the journals for now. I have one of his classic titles here ready to be listened to, and I'm expecting to build out a page at that time. Exotic Mysteries starts off with an upbeat disco number, once again alienating his built-in audience. But hey, everyone was doing that back then, including Donald Byrd (noting the white pants while at it). This is followed by a mellow tropical jazz number that wouldn't be out of place on a 60s era Sergio Mendes album. Very pleasant. The third track goes in for jazz funk, with enough edge (credit goes to the rhythm section for this) to keep it out of the smooth jazz category. The title track captures a beautiful groove with some wonderful melodies. Donald Smith's flute juxtaposed against Smith's echoed electric piano is divine. Side 2 continues in a similar fashion, demonstrating the opener is an anomaly. I didn't get into the compositions as much here. They are certainly very good, though it fell just short of keeper status. For my tastes the clear highlight is A4 with A2 coming in above the bar. (8/7)

Fusion Juice - First Taste. 2006 Digital Dream (CD). Another quarter bin find. I picked this up because Fusion Juice is a dumb name, sports a sexy cover, are a local Denver area band, and perhaps I may have found a new hot jazz fusion album. Uhh... no. From the very first few seconds, it becomes apparent this is not the next Mahavishnu Orchestra or Return to Forever. First Taste clearly falls into the smooth jazz category. You know the sound. Funky slap bass, digital synthesizers, saxophone, lightly amplified guitar, and danceable rhythms. The musicianship is high, the creativity is low. All the same, the music is easy to listen to and isn't a bad way to drop 40 minutes or so. I can totally picture the scene of this band and the CD. Imagine a cool evening at a Colorado mountain club, sitting outside taking in the atmosphere. Grab a couple of alcoholic beverages and immerse yourself into the smooth textures of the band. A few kind folks then feel obligated to purchase the CD they have on hand, take it home, and maybe listen to it once. And then it finds itself in a thrift shop. "Why did we buy this again?" asks the aging couple as they downsize before retiring into their condominium. Even the track 'Guitarmageddon' is lightweight. They really should have let loose at least once. The only surprise this album had for me was the date. I was certain it was from the 90s until I looked at the CD. (4/22)

* - Keeping for the collection

Iron Butterfly ~ USA ~ San Diego, California

Sun and Steel (1975)

Sun and Steel is the second of Iron Butterfly's 1975 reunion albums, and represents their final studio effort. As noted on the Metamorphosis review, the band was always "jus' gonna" reunite. They were hapless after 1968.

As for the music, it's not as bad as its reputation suggests. Technically it fits in the hard rock genre, but the whole effort is at least three to four years behind the times. The keyboards are from an earlier era with plenty of the trusty Hammond, and would you believe, quite a bit of mellotron! B2 and B4 are practically prog rock compositions. The latter the highlight of the album, though interestingly it's the title of their previous effort. The problem here is their variation of hard rock. Long time guitarist Erik Braunn brings the appropriate tone. The issue is they're stuck in bar n' roll land. Pounding piano and BTO styled dance tunes are all the wrong moves for a band that never could see their own potential. Iron Butterfly should have been as relevant as Iron Maiden is today. Their mantra: Should have been.

Source: 1975 MCA (LP)

8/14/26 (review)  

In-A-Gadda-Da-Vida (1968)

I've written about every original-era Iron Butterfly, except for the big one. For my prelude to the Ball album (see below), I wrote the following:

Iron Butterfly. Sigh. Was there ever a group with more commercial potential, and then just fell off the face of the Earth? Maybe, but this band has to be at least in that conversation. In-A-Gadda-Da-Vida wasn't just a good seller, it was a major blockbuster - the album that put album rock on the map. And it was highly influential to boot. One can hear the early Krautrock and UK Vertigo groups taking a page directly from it. They were, in effect, crowned to be America's own Led Zeppelin - a band that opened for them, before ultimately the other way around.

---

And then I went on to describe why Iron Butterfly weren't meant for the big time. So now we tackle the album that sent the group through the stratosphere. They weren't a one hit wonder in the traditional sense, which is usually saved for singles and the like. When I started hitting the used bins in early 1984, most of the record store owners had to say something about everything I bought - for some unknown and annoying reason (aged druggies in reality). Such as Focus' Moving Waves. "We used to get stoned during the yodeling parts...". In general, the reaction I received for albums I brought to the counter were "what the hell is that anyway?". Oftentimes I didn't know either - it looked cool so thought I'd try it out. Usually for less than three bucks (today some are going for $500 or more you Einsteins). But there were two bands that received outright derision from these clowns. One was Grand Funk Railroad (which I will still defend) and... Iron Butterfly. Especially this album. Constant references to what a joke it was. Not good music like - I dunno - The Band or Bruce Springsteen. Yea, OK. I'll make my own decisions, thank you. I always marched to my own drummer anyway (so to speak haha in this case), so other's opinions didn't matter much to me at age 19. Still don't nearly 40 years later.

I always liked the first side. In some ways it's similar to Brainticket's Cottonwood Hill. I love those first two tracks and would die to hear more like it. But the focus is always on the 30 minute Brainticket suite. Same for In-A-Gadda-Da-Vida. All the songs are good - much better than the short form tracks on Heavy or Ball. So they improved in this way too. One wonders what would have happened had they just stuck with the single version of the title track, and added four or five more songs like it. Would have the album been more well received today? Would have it been as monumental as it was in its day? I think the answer to the first question is yes, and the second a big no.

The old-timers will tell you the truth - there just wasn't anything like this in 1968. I was all of 3 when this came out, so I cannot tell you a thing about its impact real time. But I am a student of history and it becomes clear that one must have context when listening to it. And do not kid yourself - if you don't think young Germans and Englishmen were tuned deep into this, then you're not serious. One can hear the embryonic form of Krautrock very clearly. And so did all those bands in the British underground.

About midway through the six minute mark comes the famous drum solo. Now if you can take anything away from my ramblings on this blog, you will have noted I hate drum solos. To me they are the biggest waste of recording space ever. I love this drum solo. It is a work of art. He's not spazzing out like an overly caffeinated zoo animal bashing on whatever he can find. Yea, I've sat through plenty of Neil Peart's drum solos at Rush concerts. Ron Bushy wins. Maybe not on technical points, but on enjoyable points. And - oh by the way - it ends at the nine minute mark. A whopping two and a half minutes of solo time, big deal. Then comes in the haunting organ. Like early Tangerine Dream or Mythos - or Pink Floyd. Yea, your cherished gods Pink Floyd were listening too. Everyone was, that's the point of this review. Then comes the guitar. It just oozes psychedelic atmosphere. How about checking out what they're doing at the 13 minute mark. Seriously? You're going to declare this album is no big deal? 

And here we are in 2023, and people are still talking like the record store guys in 1984. No hope for mankind I guess.

Ownership: 

1968 ATCO (LP). Monarch pressing. Best copy I've ever had. Acquired in 2026. First copy was from 1984. There were a few others.

1995 Atlantic / Rhino (CD). Cover features a Lenticular image. Features a live version of the title track performed way too fast with now the drums becoming annoying, but sure why not? It's the live experience. Also includes the single 45 version. Acquired in 1996.

1988 ATCO (MC). Acquired in 2024.

1972 Atlantic Germany (8 track). Acquired in 2025.

All I need now is the reel to reel!

1984; 6/23/06; 9/15/23 (review)

Metamorphosis (1970)

Metamorphosis is the album that supports the thesis of Ball. By this time, Iron Butterfly were so utterly confused as to what their self-identity was, they ended up in a stasis of nothingness. Like many bands coming from the US in 1970, Iron Butterfly's album can simply be described as "rock". It's mildly heavy, it's mildly progressive, and it's mildly annoying. 'New Day' represents about the only decent song here, while the rest sort of blows by without notice. 'Butterfly Bleu' is their last gasp at thinking perhaps maybe they were still a groundbreaking unit. And there are glimpses of great within, but of course most of it is just noodling around in the name of high art. They really had no clue at this point what they had started only two short years before. And then finally Ingle threw in the towel. Game over. As we learned with the 45 of 'Silly Sally', Iron Butterfly continued on in vain without him. They were moving in the direction of BST styled horn pop, so they were definitely going the wrong way. It was hopeless.

Iron Butterfly were to reform in the mid 70s without Ingle in tow. That unit predictably had little impact and also imploded. For the 40 years since then, Iron Butterfly has reformed (with Ingle this time) and broken back up. There's always going to be a new album, but yet it never somehow surfaces. Now the living members are in their 70s. Somehow I doubt a Spettri like phenomena will happen here (2973 La nemica dei ricordi). Woulda, coulda, shoulda. That should be on their tombstone outside the Rock n Roll Hall of Fame. Almost there, but not quite.

Former ownership: 2009 Victor (CD). Papersleeve.

4/15/17 (review)

Ball (1969)

Iron Butterfly. Sigh. Was there ever a group with more commercial potential, and then just fell off the face of the Earth? Maybe, but this band has to be at least in that conversation. In-A-Gadda-Da-Vida wasn't just a good seller, it was a major blockbuster - the album that put album rock on the map. And it was highly influential to boot. One can hear the early Krautrock and UK Vertigo groups taking a page directly from it. They were, in effect, crowned to be America's own Led Zeppelin - a band that opened for them, before ultimately the other way around.

Ball is exactly the type of album that demonstrated why Iron Butterfly weren't meant for the big time. It's just so average. A band caught twixt and between heavy rock, pop rock, and psychedelic with no ambition. All played at 70% of capacity and enthusiasm. There's excellent stuff on here for certain, like 'In the Time of Our Lives', 'Filled With Fear' and 'Belda-Beast', but nothing mind blowing as on In-A-Gadda-Da-Vida. Doug Ingle was an immense talent. I don't get The Doors comparisons, other than they both had sonorous voices. Ingle was far more rough than Morrison, and had he come along a generation later, would have made for the perfect heavy metal lead singer. His keyboard style was born from the church (his dad's Midwest influence), and he sounds like he's playing a pipe organ sometimes. Ball should have been the album to project Iron Butterfly to the next level of creativity. But they seemed to recoil from the responsibility. Nine songs totaling 33 minutes, some of which are real throwaways. Nothing really memorable. It seems they didn't know their place in history and thus gave it away unceremoniously. And this was the album they did exactly that with. There's another chapter to tell here of course, but that's for the Metamorphosis review.

Ownership: 1969 ATCO (LP). Gatefold Unipak. Acquired in 2020.

4/15/17 (review); 8/3/21

Heavy (1968)

Iron Butterfly's debut is often flogged because of what came after it, not because of the album itself. The weighty expectations of a much forgotten album, and in retrospect, isn't heavy in the slightest. As stated by others, heavy didn't mean "heavy metal" in 1968. Even philosophically no one will ever accuse Iron Butterfly of being Descartes. But that doesn't mean that the group didn't release a competent, if not extraordinary, late 60s psych release. There are four really solid tracks here in 'Possession', 'Unconscious Power', 'You Can't Win', and 'Iron Butterfly Theme' with fine organ, guitar, and vocals. Sure, there's some filler here too. Honestly, rare is the US major label psych album which didn't have filler. Keep expectations in check, and I think you'll find Heavy an album worthy of your time.

Ownership: 1969 ATCO (LP). Acquired in 2021.

7/12/16 (review); 10/2/21

1/1/17 (new entry)

Kansas ~ USA ~ Topeka, Kansas

Kansas (1974)

It all starts here for our boys from Topeka. One of America's great treasures, a band whose legacy continues to grow as the naysayers die off. The latter mostly those that were from the same generation as the Sunflower state group. As noted endlessly by me, no group on an American major label was going to be allowed a full album of long form progressive rock music. Hits were demanded and expected. They were more lenient in 1974 than 1977, but nonetheless one has to deliver, or take a hike. With nothing more than true grit, the band toured the fruited plain endlessly and gained enough of a cult following to keep the execs at bay while they kept trying for that one magical song to make them megastars. Each album sold just enough to survive, until they finally hit paydirt with Leftoverture. Their debut illustrates this as much as their next two opus'. They went for four commercially oriented tracks against four overt proggers, mostly tossed in at the end. The FM potential went nowhere, but the US fans of the big UK prog acts came out in favor. The formula largely stayed the same, it was just a matter of catching the popular ear of the day. The talent was always there, it was the fickle public that had to adjust. And they finally did. But not here. 

Ownership: 2004 Epic / Legacy. Booklet with historical liner notes and photos. Features one lengthy live bonus track. Acquired in 2011.

First copy: 1974 Kirschner (LP). Acquired in 1985.

1985; 12/7/11; 5/17/15; 10/24/19; 8/13/26 (review)
 

Masque (1975)

Of all the Kansas albums from the 70s, Masque is the album I'm the least familiar with by some measure. And that includes Monolith. In fact it doesn't appear I owned a physical copy of this until 2002, also the odd album out. One of those "slipped through the cracks" deals. It's obvious from the opening two songs that Kansas is dialing back the complexity of Song For America. They're clearly in hard rock territory, trying to figure out where they belonged in the American rock landscape. Hard rock was far more popular over here than prog, at least for local bands. They had yet to have a hit song to their credit, despite intense pressure to create one, and that wouldn't occur here either. It would be their next opus that assured Kansas their place in rock history. I think it's telling that the hype sticker on my CD states: "Long out-of-print gem from one of America's great rock bands". Note which four letter word is missing. Nonetheless it didn't stop the band from adding in some proggy long tracks, namely 'Icarus', 'Mysteries and Mayhem', 'All the World', and 'The Pinnacle'. While not reaching the heights of Song For America or Leftoverture, Masque certainly is a credible and enjoyable album, not demonstrating a slump or a major deviation of their sound.

Ownership: 2001 Epic Legacy (CD). Contains a history, photos, and two bonus tracks. Acquired in 2002.

2002; 5/3/16; 10/27/25 (review)

Song for America (1975)

When I first got into music via FM radio in 1977, Kansas was not a favorite of mine. Time and place plays a major role in one's development, and this includes music appreciation. Point of Know Return was extremely popular upon release, and the title track and 'Dust in the Wind' were played incessantly. Neither swayed me much back then. I wasn't annoyed, but it was tiresome. I did like 'Carry on Wayward Son' from their previous Leftoverture album, but that was a whole year old! lol. Progressive rock was still a few years away for me and their brand of AOR wasn't that appealing either. A high school buddy, he himself a musician, was a huge Kansas fan. I credit him for encouraging me to hear them differently, especially their early albums. And by late high school I was already immersing into progressive rock anyway. It wasn't until college that I eventually picked up their albums through, ironically, Point Of Know Return. And to this day, those albums they released while I was actually in high school (1979-1983) had no impact on me. That is to say at the point I was introduced to the band is also where they declined. Not really an uncommon story when you consider that I got going in the late 70s just at that point where bands were moving (forcefully or willingly) to more commercial waters. It really wasn't until the 2000s that my appreciation for Kansas began to accelerate. Today I consider them something as magical, a group who represented what American progressive rock could have been. They were about the only one that transcended to the major labels and had blockbuster radio hits. And many of us know by now just how many great bands there were in this country, but most didn't even get a chance to record, and those that did were released in tiny numbers. This blog is full of those albums and archival releases.

Today, the album I'm reviewing here, along with the aforementioned Point Of Know Return and Leftoverture, is considered their best album. That was not the case in 1977, no way and no how. Perhaps the latter two, but Song for America? It was as relevant as Foxtrot was to And Then There Were Three. Like I said: Time and Place. 

Song For America is arguably their most progressive album, at least as we define the term today. Like everyone else in the States, Kansas took as a blueprint all the major UK prog bands, and then added those regional qualities that makes the subgenre so exciting to explore all these years later. Ten minute title tracks and the 12 minute 'Incomudro - Hymn to the Atman' was just not something many American bands had a chance to record. For Columbia no less. And there's really no duff tracks to hedge their bet either. Kansas were all in for prog rock, and their legacy will only continue to grow because of it. The younger generations, who do not have the baggage of the era, can listen more objectively and hear Song for America as it was intended. It's also worth mentioning that Kansas could also be considered a hard rock band, and had they trimmed the complexity level, they would have been top of class in the Midwestern hard rock sweepstakes. And local competition was even more fierce in that field back then.

Interesting to see the photos of the band. Their look was "of the era". Had they tried to break in during the 80s, they never would have gotten in the club door, much less recording time at a major studio. Three of the guys are decidedly overweight, Livgren looks like a sad old dog, with only Walsh and Ehart appearing telegenic (maybe). Metallica, Nirvana, and the rest of them were able to erase that stain for the 90s and beyond, but it's unfortunate that the 80s were so superficial in that way. How many great bands never got anywhere because of their appearance? Of course you could say that about a lot of things outside of music too. 

The CD adds a single edit of the title cut plus a live rendition of 'Down the Road', neither offering up any revelations.

Ownership:
2014 Friday (LP). Gatefold. Acquired in 2023.

2004 Epic Legacy (CD). Booklet with history, photos, and two bonus tracks. Acquired in 2012.

First copy: 1975 Kirshner (LP). Acquired in 1985. Reacquired in 2022. Downsized in 2026.

1985; 8/11/12; 9/22/25 (review)

Drastic Measures (1983)

I'll be spinning up a Kansas page eventually (done) but I don't want to start here. As the years have passed by, my admiration for Kansas has gone considerably up to the point where they've become one of my favorite bands. Their story is remarkable and what they were able to accomplish in a very hostile American commercial market is nothing short of incredible. Something I would not have understood when they were still relevant in the late 70s. But even they couldn't stop the tide that was to be the 80s. Generally considered their worst album, Drastic Measures sees Kansas try very hard to be in the same league as Journey, Boston, and REO Speedwagon. But it's just not for them. The group is only two thirds of the classic lineup, and even they were close to splitting up. The ride was over. Objectively speaking, Drastic Measures is no better or worse than many of the bands operating in the same tight space that was the 1983 AOR landscape. Interesting to note that this album was released in July of 1983. One month later was Metallica's Kill 'em All. The music world was a changin' fast.

Source: 1983 CBS Associated (LP)

5/7/25 (review)

Other albums I own: Leftoverture; Point of Know Return; Power; In the Spirit of Things; Freaks of Nature; Always Never the Same; Somewhere to Elsewhere; The Prelude Implicit; Early Recordings From Kansas (Proto-Kaw)

Other albums once owned: Monolith; Audio-Visions; Vinyl Confessions

9/22/25 (new entry)

Allan Holdsworth ~ England

Metal Fatigue (1985)

I remember the slow brains of the day trying to advertise this as a metal album. They saw the title, and that it was on Enigma (one of the leading metal labels of the era), and made a ridiculous assumption from there. Holdsworth?? He's a lot of things, but never a metalhead. Dummies. Instincts told me to avoid this title in college, and so I did. If not for the collection I acquired in January, I may never have bothered to hear it. The music here is precisely what I would expect a mid 80s fusion album to sound like. Slickly produced, lacking any kind of edge or groove. As already stated below, I'm not much of a fan of Holdsworth's songwriting (the vocal tracks go nowhere), and while he may be technically proficient, his style comes across as academic to me. He really should have been on ECM at this stage, a label that is far more representative. The album has its fans, witness the gushing reviews on RYM. The overall ratings, however, remain rather average. The silent majority I submit. For this kind of guitar fusion from this era, I prefer David Torn or Terje Rypdal (both on ECM as it turns out). Certainly not a bad effort, and I wouldn't suggest so, just not in my wheelhouse.

Source: 1985 Enigma (LP)

8/13/26 (review)   

Velvet Darkness (1976)

I fully admit to not really being a "Holdsworth guy". I realize he was a good guitarist but his music usually leaves me wanting more. I get more satisfaction from Eric Johnson, at least he makes the effort to write a tune. When I found this debut album - on CTI no less - I figured it was worth a try (especially since I got a great deal on it). This is more like it. Really heavy fusion, just the way I like it. Raw and dirty, the exact opposite of how I would characterize Holdsworth. It came as no surprise to me to learn later that Holdsworth regretted the album, saying they were only rehearsals and not authorized for release. Once a tin ear always a tin ear. His next endeavor was the band UK, who released an excellent debut, and he whined incessantly about that too. The lesson? If Holdsworth was unhappy then I might like it! To be fair, I haven't heard that many of his albums, and the ones I did, go back to the 80s when I was in college. I'm up for hearing them all, though I'll keep expectations in check.

Back to Velvet Darkness. The album is only about 30 minutes long and that includes three acoustic interludes. The other five are the heavy pieces. One of them features Holdsworth on violin, and he's quite good at that too. Bet he doesn't think so.

Ownership: 1976 CTI (LP). Gatefold. Acquired in 2024.

6/7/24 (review)

Atavachron (1986)

Picked this one up in Austin for $1. Perfect nick. There was a lot of fusion like this in the middle 80s. Not a big fan of the Synthaxe, which is all over this thing. The tones and production are off-putting, though I suspect the material would hold up better in an analog setting. Overall it's a pleasant listen, but nothing I need to hold onto. 

Source: 1986 Enigma (LP)

7/14/23 (review)

Also own: I.O.U.

Previously owned: Heavy Machinery (w/ Anders Johansson and Jens Johansson)

7/14/23 (new entry)

Saxon ~ England

Power & The Glory (1983)

According to RYM, this album was released in March of 1983, meaning I was still in high school. That tells me that I had cut the cord with Saxon even before I graduated secondary school. Only a few months later, Metallica entered stage left, and the metal world would never be the same. That would include my listening approach. As noted below, I only recently picked up Power & The Glory, if only to close the book on their classic era.

Upon obtaining in 2013, I was pleasantly surprised how much I enjoyed the album. Of course at that point it was more of a nostalgic listen than anything enlightening. And that perspective remains with me tonight as I revisit for the first time. True bread and butter NWOBHM, Power & The Glory could be considered a swan song for the entire genre. The metal world was moving on, while Saxon was still releasing charmingly antiquated melodic metal with galloping guitars, sensitive vocals, and predictable sequences. You know, "This Town Knows How To Rock" "Solo!". Sure, why not? Saxon, too, were to change after this, to a more commercial based sound, which proved to be the wrong choice at the wrong time. Based on my own observation of a late 90s work, they were to course correct, long after it may have mattered, but their legacy remains secure.

Ownership. 1983 Carrere France (LP). Acquired in 2013.

11/26/13; 8/12/26 (review)
 

Saxon (1979)

If you look at the listen dates, you'd think I haven't heard this album since I was in high school. I know that's not right, but have I heard it since the late 90s? Nope, probably not.

Saxon's debut was one of the first metal import albums for me to purchase. European imports were very expensive back then, at least for a pauper like me whose sole income at the time came from a summer job working in an industrial warehouse (in Dallas no less - unbearable heat). At minimum wage which was bupkis in 1982. So every dollar spent had to count. I was looking for heavier, faster, and meaner metal on each purchase. And with that cover of a blood soaked sword, I figured I was in safe territory.

Uh, no. What a strange album Saxon's opening move is. Like I say about Manilla Road's early works, this is Saxon before they were Saxon, if that makes sense. With the opening two tracks titled 'Rainbow Theme' and 'Frozen Rainbow', you'd think they were some kind of psychy prog band. And it's not really that far from the truth. It's not until A3 that you hear the first riffs, though definitely more hard rock than anything metal. 'Judgement Day' is another song that has psychedelic overtones, and is my pick for best track, unrepresentative as it may be. 'Stallions of the Highway' is the first sign of the blueprint Saxon were to follow on their next three albums. Mid-paced biker metal with solid riffing and good solos. B4 is another example of this.

This is a very special album to me for the time and place aspect, and the history as noted above. But for musical content, it's borderline passable. I wouldn't give it much credence had I discovered this album for the first time today.

Ownership: 1979 Carrere France (LP). Acquired in 1982.

1982; 5/25/26 (review)  

Unleash the Beast (1997)

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.

3/7/21 (review) 

Also own: Wheels of Steel; Strong Arm of the Law; Denim and Leather

3/7/21 (new entry)

Indestructible Noise Command ~ USA ~ Connecticut

Razorback (1987)

As with the Wooden Shjips, here's another surprise from my last Denver record buying trip. The cover you see is not what I have here (no loss I'd submit). Rather mine is plain white, and yes, it is indeed a test pressing. Priced very reasonably I must add.

I figured based on the year, and that the band are labeled thrash, that it likely will be to my taste. And it is. This comes from the era when metal bands were riffing mad, and the more they could squeeze into a cut, the better. And if the rhythms followed their lead, you have something truly progressive. Being from Connecticut, the band seems to favor the nearby northeastern groups such as Anthrax, Overkill, and Attacker. The vocals occasionally go for the gang chorus, which also calls to mind Exodus. The lead singer doesn't shriek like many of his contemporaries, sticking more to a punk aesthetic. The guitar tone is deliciously thick and heavy. Good solos are interspersed throughout. There's some Cliff Burton-like bass as well. While certainly nowhere near the most complex of tech thrashers, it nonetheless moves seamlessly from idea to idea. To get noticed in 1987, one would have had to do more than this, yet the album remains a solid effort for the genre.

Ownership: 1987 Giant (LP). Test pressing on Rainbo. Acquired in 2026.

8/12/26 (review)

8/12/26 (new entry)

Wooden Shjips ~ USA ~ San Francisco, California

Shijps In The Night: Live in San Francisco, June 8, 2018

I've known about Wooden Shjips for years, but never heard a lick of their music. Imagine my surprise when I found a mint LP copy (in shrink) in the $2 bin at a record store in Denver. I didn't bother to price it out, I just wanted to hear it (some new LP's really do sell for $5). Now that I'm looking it up, somebody clearly made a mistake. I'm certainly not complaining.

I don't usually like to start with a live album (unless the groups themselves do), and it's apparent most, if not all, of these tracks were released on their five studio albums. Guessing it may not matter, as it appears there's some improvising going on, or at least some added kinetic energy. I quite like what I'm hearing here. Very much in the neo psych vein, not so far from others of their ilk like Sun Dial, Black Sun Ensemble, Dungen (if they were English), Plasticland, and Wolf People. The fuzz tone guitar is exactly the sound you want from some obscure 60s psych 45. The hazy and trippy vocals reinforce the psychedelic connection. Same with echoed simulated organ. There's no mistaking the type of music Wooden Shjips peddle in, each track is filled to the brim with psyched out sounds and spaced out interludes.

Ownership: 2019 Silver Current (LP). Embossed cover. Acquired in 2026.

8/12/26 (review)

8/12/26 (new entry)

Genre ~ USA ~ Albuquerque, New Mexico

Commercial Success (1978)

---12/21/10

One of those albums that I "discovered" along with a friend. Popularized would be more like it, as I'm sure many others found this album long before I did. At one store in ABQ there was a pile of sealed local albums, almost all of them pop or country. But this fusion album looked like it was worth taking a chance on, so I did. At the time, we were looking for Message - It'll Be Awhile album (also on Black Gold).

Lead by the guitarist - a slightly chunky black dude with a cool fro - named L.A. Jenkins, Genre play a fairly typical late 70's instrumental fusion with toned down guitar leads and Rhodes piano as the lead instruments. While Side 1 isn't particularly noteworthy, Side 2 opens with the excellent 'All Mixed Up' where Jenkins lets loose with a more psychedelic tone to the guitar. And this continues throughout the side, though the standard fusion motif is never strayed from too far.

---8/11/26

Time to add this to UMR. I'm going to bump my enthusiasm a bit here. I find the fusion to be more kinetic and complex than what I stated above. Even though I bought this sealed, the pressing isn't the best. It really would do well to have a masters tape reissue. I would never sell this original copy in any case, but a clean sounding supplement would be nice.

In hindsight I wish I'd bought all 20 sealed copies that we saw (approximate). But at the time there was little market for albums such as this, and money was scarce. Most record collectors have similar tales from that period.

Interesting to note I'm seeing folks attribute the band to the Palm Springs area of California. Umm, the address for Black Gold Records is on Palm Springs Ct. (in Albuquerque) lol. Of course having a guy named L.A. Jenkins also compels one to think of So Cal. It's been corroborated by band members that it was recorded live in an Albuquerque basement.

Ownership: 1978 Black Gold (LP). Textured single sleeve. Acquired in 1992.

No reissues exist as of 8/12/26. However it has been rumored that Noble Records will reissue this later in the year. Likely to be LP only.

5/16/92; 12/21/10 (review); 8/11/26 (update)

8/12/26 (new entry)

Joe Farrell ~ USA

Outback (1972)

Following my flurry of activity around Joe Farrell a few years ago, I've finally gotten around to hearing his "debut" album. That is to say without the Quartet designation. As mentioned below, I'm a big fan of Farrell's flute playing, and the opener is an atmospheric piece featuring just that. Wonderful. A2 puts us back in post bop territory, though I'm enjoying Farrell's sax playing more than on the later albums. Not as honking, a bit more smooth, though no less noisy I suppose. Chick Corea kicks in some fine electric piano. The byline goes to drummer Elvin Jones, so you know the heavy hitters are aboard. Airto didn't even make it to the marquee (interesting to note that he was listed second on the 1979 reissue, his commercial viability had risen quite a bit by then). This cut is pure jazz for those who are seeking that out.

B1 continues in a similar fashion, though a bit more early 70s than early 60s if that makes sense. And Farrell is wailing a bit too much for me here. Corea is trying hard to keep the piece grounded into something more pleasurable. Unfortunately B2 goes even further into the jazz jungle. For those who do not like jazz rock or fusion, this album would likely be the favorite of the lot. It's a good album for certain, but nothing I need to hold onto at this point.

Source: 1972 CTI (LP). Thick gatefold. And the poster is still at $19.50!

8/11/26 (review)   

Penny Arcade (1974)

Earlier last year I picked up a handful of Joe Farrell albums, starting with his 1970 quartet and ending with 1975's Canned Funk. For me each album progressed further into the territory I enjoy. From the decidedly pure jazz at the beginning of the decade to the grooving heavy funk by the mid 70s. And Penny Arcade maintains that trajectory, as I found myself enjoying this more than Moon Germs but not as much as Upon This Rock. Primarily the difference is there are no whopper tracks here, everything is just satisfactory. Or as they would say in the business world: Meets Expectations. Guitarist Joe Beck is certainly more restrained here (unfortunately) than on the next two albums. And I always wish that Farrell would have stuck to the flute, as he's sax honking mad here. Given the entire Joe Farrell experience, I'm keeping this for now.

Ownership: 1974 CTI (LP). Gatefold. Acquired in 2022.

10/14/22 (review)

Joe Farrell Quartet / Song Of The Wind (1970)

OK, this was one Joe Farrell too many for me. His first release as band leader shows Farrell still in pure jazz mode, without any hints of rock. Opens up in fine fashion with a pleasant post bop piece, though again I'm not too fond of Farrell's honking style. 'Collage for Polly' is a fine atmospheric experimental number with flute in the lead. 'Circle in the Square' is exactly what I don't like in jazz. Way too noisy, though not avant garde by any means. This is iffy so far. The first three tracks on Side 2 has Farrell primarily on flute, which I enjoy, though I'm having a hard time finding a comfort zone here. It's a bit loose and lacking memorable melodies or sequences. The final closer 'Motion' is awful. Now this is free jazz, and I'll probably never get my head around why it was popular in the first place. I appreciate the freedom of sound and idea, but you have to do more than make random noise, for me at least. Yuck. Even though John McLaughlin is featured as part of the group, his guitar is almost entirely absent. I'm going to move this one out. Features a nice gatefold cover, typical of the label. 

In the small print, it states you can get a custom color print of the cover for $19.50. Whoa, that was a lot of money in 1970 for such an item. I wonder if anyone actually took them up on the offer? 

---6/1/26

So I sat down to listen to one of my newly acquired Joe Farrell albums entitled 'Song Of The Wind'. Hmm, seems like I've heard this before! I put the genius in Genius Hans I tell ya.

Since I was already here, I gave it another whirl. My opinion is verbatim of the above. Tempted to go +1, but damn B4 is a mess.

Interesting to note that the repro of the cover is now only $2. Now that's deflation!

Source: 1970 CTI (LP). Gatefold; 1976 CTI (LP). as Song Of The Wind. Gatefold.

6/28/21 (review); 6/1/26 (update)

Moon Germs (1973) 

I recently reported on two later Farrell albums, and how I enjoyed both immensely. Moon Germs was my introduction to Farrell's solo works, via a CD release. Since it had some value (at the time), I sold it, as I wasn't overly enamored with it. But I definitely wanted to hear it again with a fresh set of ears. After hearing it again, I can certainly see why I was OK letting it go. But I do enjoy it more now. If for nothing else than the excellent closer 'Bass Folk Song' which sounds more like Lloyd McNeill than Joe Farrell. He should have played the flute more, that's for sure. "Stan" Clarke is also having a good time on the bass throughout the album. The other tracks point more to a late era jazz album than the more trendy rock fusion that was penetrating the market back then. Love these CTI bulletproof gatefolds - and it's a great cover too.

Ownership: 1973 CTI (LP). Gatefold. Acquired in 2021.

First copy: 2002 CTI Legacy (CD). Acquired in 2005.

2//05; 12/16/15; 6/26/21 (review)

Canned Funk (1975)

This album goes hand in hand with Upon This Rock. Everything from the album layout, song lengths, instrumentation, and musical focus. Side 1 is a bit off the pace, though once again guitarist Joe Beck is keeping it far above water. But Side 2 is the best of the "4 sides" if I can compare. 'Suite Martinique' is brilliant, moving towards progressive rock, given its relative complexity. Superb flute and sax from Farrell, and Beck is on fire here. Great rhythm section throughout. These Farrell albums are proving to be a revelation for me. As noted, comes in yet another fantastic thick gatefold cover, pointing to an earlier era of product.

Ownership: 1975 CTI (LP). Acquired in 2021.

3/15/21 (review)

Upon This Rock (1974)

Like with Donald Byrd and Joe Henderson, I don't know much about Farrell either. I was convinced to buy his Moon Germs album, which I dutifully picked up on CD many years ago. I did like it, but it wasn't revelatory, and since I could get good coin for the CD, I sold it. I probably need to revisit again now that my ears are more adjusted, and certainly would buy the LP in any case (and I did just that as you can see above). And even more so now since I've heard this follow-up album. Guitarist Joe Beck lights it up everywhere. I like everything he's on, so that should be another focus area for me. Opener 'Weathervane' can get pretty complex, and recalls Mahavishnu Orchestra at times. 'I Won't Be Back' is also great with Beck's guitar and some fine flute playing from Farrell. The title track starts awesome with Beck seemingly ready to go into Manuel Gottsching mode, but unfortunately pulls back. I was hoping for a Gary Saracho moment here. My only "complaint" (ha!) is I'm not overly fond of Farrell's sax work here. He's not screechy or noisy, so that's good, but he does tend to "honk" which can be annoying, to my ears anyway. A small matter really, as this album is excellent overall. Like many CTI albums, this comes in a fine thick gatefold cover.

Ownership: 1974 CTI (LP). Gatefold. Acquired in 2021.

3/14/21 (review)

Also own: Benson & Farrell

10/14/22 (new entry)

High Tide ~ England

Sea Shanties (1969)

High Tide's debut is arguably the heaviest album to be released up to that point in time, even predating the first Black Sabbath album. Perhaps Blue Cheer's Vincebus Eruptum comes first chronologically, though High Tide seems more professional. Tony Hill sets the amps to 11, while Simon House destroys his poor violin into oblivion. Like the first Stray album, the group's primary focus is on long and intense jams. There just wasn't anything else like this on the market, especially on a major label. Guess the execs thought it was worth a shot. Probably didn't work out commercially speaking, though clearly High Tide were leagues ahead of their time.

Unlike their second album, High Tide does appear to take the time to put together a composition or two, though it doesn't seem like they were patient enough to let them breathe before pummeling the listener with some more distortion. I love their sound and its relentless. I'm not sure anyone sticks around until the end, but the last track is truly complex progressive rock.

Ownership: 1994 Repertoire (CD). Booklet with liner notes. Acquired in 1996.

First copy: 1969 Liberty USA (LP). Gatefold. I'll get this one back eventually. May even splurge for the UK original. Sold it long ago when US commodity pressings like this weren't worth much. How times have changed. Acquired in 1988.

1988; 1996; 6/2/16; 8/7/26 (review)
 

High Tide (1970)

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

---5/22/26

For 1970 England, it was rather unusual for such long jamming sessions, especially on a major label. Tony Hill and Simon House are battling it out on guitar and violin with the rhythm section creating a racket behind them. This is at least a full year before the Krautrock movement got going in full force, and it's there that you might here this kind of unhinged ripping. Perhaps Amon Duul II was in this league by then, though I don't get the impression that High Tide were stoned out of their minds. It doesn't have the gravitas we hear from their neighbors. Blissful jamming I'd conclude. Vocals are an afterthought though they suit the music well. It's telling that High Tide never released a single in an era when that was expected.

There's more material on the bonus tracks than the album proper. Roughly 35 minutes, in fact. Though two of them are just different mixes (or takes). I mentioned 'The Great Universal Protection Racket' in my initial notes, and it does stand out. It feels more composed than the other three jams that made the album proper. Has more of a prog rock approach than psychedelic. Until they throw away the rule book about halfway through, and get back after it. 

After this you're likely to feel a bit exhausted, as the music is relentless without much of a breather. It appears the final bonus song 'Ice Age' was the last recording from the original incarnation of High Tide (not sure if it predates the Precious Cargo sessions). It definitely was more song focused. Would have been interesting to hear them develop this style further.

If psych jamming isn't your bag, then it's probably a good idea to steer well clear of this title. I think if one considers the era in which it was released, it's quite an extraordinary accomplishment. 

Ownership: 2006 Eclectic (CD). Booklet with a full history and photos. Contains four bonus tracks. Acquired in 2011.

First copy: 1994 Repertoire (CD). Acquired in 1994. 

1994; 7/26/11 (review); 5/22/26 (update)

Also own: Ancient Gates

Previously owned: The Reason of Success; The Flood

7/26/11 (new entry)

Procession ~ Italy

Frontiera (1972)

Procession's debut is one of those albums that help define what Italian progressive rock sounds like. Dynamic changes from acoustic guitar ballads with passionate singing to brutal hard rock, oftentimes within a few seconds. Histrionic vocals, dual guitars, occasional mellotron, ADHD rhythm section. Not that dissimilar from label mates Quella Vecchia Locanda minus the extended instrument palette. Most of these groups, had they come around 20 years later, would have likely been part of the prog metal movement. There's plenty of riffing and creativity to go around.

File next to other 1972 Italian heavy prog stalwarts like Il Rovescio Della Medaglia, Osanna, J.E.T., Raccomandata Ricevuto Ritorno, Jumbo, Garybaldi, Osage Tribe, and many others. If you're into the scene, you'll want this title too.

Ownership: 2009 Belle Antique (CD). Gatefold papersleeve. Comes with the "suitcase" handles that are usually missing on the original LP. Oddly it appears none of the LP reissues include the handles either. Acquired in 2010.

First copy: 1993 Vinyl Magic (CD). Acquired in 1995.

1995; 6/13/07; 4//10; 8/7/26 (review)

Also own: Fiaba

8/7/26 (new entry)

Santana ~ USA ~ San Francisco, California

One of the most influential guitarists in history, Carlos Santana assembled a high quality group of multicultural 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.

Borboletta (1974)

---2007

Do you ever look at your shelf of music and see an album and say “you know, the next time I hear it I bet I’ll like it more than I did before?” Well, I bought this LP sometime in the 1980s and doubt I’ve heard it twice since then. Foreshadowing aside, yea I dug it big time. This was released at the tail end of his fusion phase, but there’s still plenty of that sound prevalent throughout. Sure, he’s introducing a slicker, more radio friendly sound here. But it’s not too bad on the whole – in fact some of the melodies are addictive. I think to properly enjoy this album, it’s best to hear Welcome first, rather than Lotus, or even further apart, the first three albums.

---8/7/26

Santana's 6th studio album is the end of the line for his jazz rock phase. Unfortunately. As noted above, sure, Carlos was moving his group into more commercial waters. But he found a peak spot as he's turning the valve, and captures the best of all eras. The atmospheric pieces recall Abraxas, the vocal numbers hint at what's to come with Amigos / Festival (and follows similar with the Welcome album), and finally, the fiery fusion numbers where Carlos lets 'er rip on guitar. I find music like this very easy to listen to.

This phase of his career likely had to come to an end as it wasn't commercially viable for the tightening of the radio medium of the mid 70s through the 80s. Tragedy that.

Ownership: 1974 Columbia (LP). Lyric inner bag. Acquired in 1986.

1986; 2007 (review); 12/29/14; 7/16/16; 8/7/26 (update)

Carlos Santana & Buddy Miles - Live! (1972)

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

Ownership: 1972 Columbia (LP). With insert. Acquired in 2025.

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: 2003 Columbia Legacy (CD). Booklet with liner notes and photos. One bonus track as noted above. Acquired in 2005.

2//05; 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: 

1969 Columbia (LP). 2 eye original. Acquired in 2026. First copy acquired in 1983 (the current pressing at the time).

1998 Columbia Legacy (CD). Liner notes and photos. Contains three bonus tracks taken from the Woodstock concert. Acquired in 2025.

1983; 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). Reacquired in 2021. First purchased in 1987.

1987; 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: 1980s Columbia (LP). Acquired in 1989.

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

Other albums I own: Abraxas; Santana III; Caravanserai; Love Devotion Surrender; Lotus; Moonflower; Live at the Fillmore 1968; Blues For Salvador; Santana Live

Previous owned: Inner Secrets; Marathon

9/21/18 (new entry)