Jean Michel Jarre ~ France

Chronologie (1993)

As you can see from the below, I've enjoyed a recent reunion with Jean Michel Jarre. While he earned accolades in the 1970s, Jarre's heyday most assuredly was the 80s, at least from an album standpoint. After Rendez-vous, his records weren't as ubiquitous as prior. That didn't deter Jarre at all and he continued to record for another three decades, and he's still active as pushes 80.

I for one have not heard anything past 1986 from Jarre. This cassette popped up at a thrift shop for a buck, so I'm definitely game for trying it. At this point his music has taken on a cinematic approach similar to fellow global electronic star Vangelis. There's also a certain Nintendo approach to the music. While he probably wasn't influenced by video game soundtracks, Jarre eventually had become a showman first, musician second. And the music demonstrates that he has a grand production in mind while composing and performing. The music, as to be expected I suppose, is more beat heavy than his earlier works. I did like the guitar at the end of Part 3 (and also further on), an instrument not usually heard on a Jarre album.

I don't hear Chronologie as a repeat of anything he's released prior, so I consider that a plus. I think he's trying to innovate, though it gets harder as one goes. And he was still a very popular artist, especially live, so it's hard to have the same drive as prior. I have enough Jarre here as it is, so we'll let this title slide.

1993 Dreyfus (MC)

10/22/26 (review)
 

Zoolook (1984)

The elusive Jarre for my collection has finally arrived. While I continue to find multiple copies of everything around it, Zoolook was nowhere to be had. A highly experimental work from Jarre, here taking a decidedly non-commercial approach when he was at the height of his popularity. Heavy use of voice synthesizers that elevates Tangerine Dream's 'Kiew Mission' to its logical extreme. This is the type of album that one must immerse themselves in rather than sit back and let it impress you. Despite what it may read like, Zoolook was a big seller in its day and didn't derail his popularity one bit. Proving once again that if artists just follow their muse, the audience will go on the ride with them. But once you try to impress your audience, it is at that point you are lost. Good for Jarre that he stuck to his guns.

Ownership: 1984 Dreyfus (LP). Acquired in 2023.

10/28/23 (review) 

Rendez-vous (1986)

Last year, I went through a retrospective of Jarre's first four "classic" albums, and was pleasantly surprised that I enjoyed them all. I wrote previously: "I should mention that five years ago I picked up Rendez-vous on CD from a garage sale. It didn't leave much of a mark, and I sold it a couple of years later. I figure some time between Equinoxe and that album is where I will lose interest. But that didn't happen here with Les Chants Magnetique." So this week I found a nice minty copy of Rendez-vous on LP at a thrift shop. Has my opinion changed? A little bit, only in that I'm more favorable to Jarre to begin with (+1). By this point, he's too deep in the 80s and lacks some of the warmth and dynamism of his earlier work. I don't want to say he's going through the motions here, but ya know he could be going through the motions here. It's a nice record, but that's not going to cut it. 

1986 Polydor / Dreyfus (LP)

11/22/15; 8/5/21 (review)

Les Concerts en Chine (1982)

I'm not always in the mood to listen to electronic music, but especially double LPs can be daunting. Really depends on my energy level. If I'm too tired, I'll fall asleep. If I'm more energetic, then I want something more dynamic. But last night I was in that rare calm-but-lucid state. Almost six months after picking up the LP at a thrift shop, I'm ready to devour. For context, if you go back and read my thoughts on Jarre, it was this album that I first heard all the way back in 1983. And, as noted there, we were all getting into a dispute about who was better - Jarre or Tangerine Dream. As if there had to be a winner. Since I was a die-hard TD guy by then, Jarre had no chance. No way would have I understood the historical importance of this album - which is immense really. It wasn't long before these recordings (in 1981) that China was still a closed country. Even more so than the Soviet Union. This was all part of the exciting geopolitical backdrop of the 1980s. For the music, Jarre brings along some of his classic material, but also newer compositions geared towards the setting. The sound quality is awesome really, considering the challenges they faced. I've read some funny anecdotes about these concerts. In one case, everyone abruptly left while they (Jarre had a four piece group) were still playing. Why? They had to catch the busses and trains home, or they would be stranded. The things you don't think about. Anyway, this is for certain a must for Jarre fans. Otherwise, it's not going to sway one's opinion. Solid progressive electronic music.

Ownership: 1982 Dreyfus (2xLP). Gatefold. Acquired in 2021.

4/30/21 (review)

Magnetic Fields (1981)

To my surprise, I found Magnetic Fields much more innovative than his first two recognized works. In reviewing other's observations and ratings, it would appear I'm very much in the minority with that sentiment. But I really don't know why. One hypothesis that I can think of is that Jarre, on his first two albums, doesn't really remind me of any particular artist, though his sound is very much part of the French school - and there were many in existence when he showed up on the scene. I think with Magnetic Fields there really is a clear Tangerine Dream influence, in particular the recent arrival of Johann Schmoelling to that band. The sequencing here is innovative in the same way that Tangram is. Of course the last track is purposely ridiculous, and perhaps not the best way to end an album, which I think may have impacted more negative ratings than anything else. 

Ownership: 1981 Polydor (LP). Acquired in 2020.

12/27/20 (review) 

Oxygene (1976) 

This is Jean Michel Jarre's first album and apparently Part 4 was a big hit. I have no idea why, but it's a fine upbeat electronic track. I've told my story about Jarre on the Equinoxe post, so not much else to add. I have to be pretty objective with these albums, as they are definitely nothing new to my ears (but still very good). But that's just my personal experience and chronology. Had I never heard any analog electronic music prior to this, I'm sure to have been impressed. I've read this is the single biggest seller in the history of French music. Not sure if that's true, but if it is, then it's amazing it would be an album such as this! 

Ownership: Dreyfus (CD). 

12/23/20 (review)

Equinoxe (1978)

Some of you may recall my discussion about "fastest" guitarist when I wrote about Al Di Meola's Elegant Gypsy two plus years ago (well I'm sure you don't, but you can look it up on this blog...). In effect, it was about those tiresome music conversations we seemed compelled to do in college during the 80s. Well....same thing here with Jarre verse Tangerine Dream or Klaus Schulze (more the former as Schulze was still pretty obscure, at least where I went to school). And since I was a huge T. Dream and Schulze nut, I wasn't having any of this Jarre nonsense! Silly me. So, believe it or not, I haven't heard this album (intently)... until last night. The problem with hearing Equinoxe in 2020 versus 1983 is that I've already absorbed hundreds of analog synthesizer albums. So it's a bit old hat at this point. But is that a fair evaluation? Not at all. I can see why I scoffed at Jarre being the superior artist 35 years ago, given the music here doesn't have the depth that you'd hear on Rubycon or Timewind - or even Tangram. But in his day, Jarre apparently ruled the stage and drew massive crowds. Equinoxe is not vapid crowd pleasing music, and is a strong electronic work, all things considered. So yes, definitely a keeper here.

Ownership: 1979 Dreyfus (LP). Acquired in 2020.

12/3/20 (review)

Also own: En Concert Houston

12/22/21 (new entry)

Ram ~ USA ~ New York

Where? (In Conclusion) (1972)

---6/23/09

For many years, since I first bought the LP in the early 90s, I've felt that Ram is one of America's more unheralded progressive rock albums. The first two tracks are straight ahead rockers, almost like Rare Earth or similar US street rock groups. But the last two tracks on Side 1, and especially the 21 minute side long suite 'Aza', show a remarkable progression.

'Aza' is fascinating, as it sounds like synthesizers, or even mellotron, are the dominant instruments. But on a careful listen, you can hear they are using saxes, flutes, and contact mics to emulate the synthesized sounds. The electric guitar and fuzz bass are blistering on this track. I find it hard to believe a creative band like Ram doesn't have other similar sounding tracks sitting in a vault somewhere. Can you imagine a CD reissue with one or two extra epics like 'Aza'? For me, that could raise Ram to the very best the US ever put out, especially from the early 1970s.

In researching the group on the internet, there's very little info. Apparently they're from New York (that may not be the case either - as all we know is the LP was recorded there), and one of the members showed up in a later incarnation of Hot Tuna (maybe).

Any former Ram band members, producers out there who would like to get in touch with me and set the record straight? Anyone out there know more about this group? I sure would like to know more.

Wikipedia says this: "Ram is a musical group that was based in New York City in the United States and was active in the early 1970s. Band members included brothers John and Ralph DeMartino as well as Bob Steeler who later played with Hot Tuna. Many reports state that a mellotron was the instrument used for the spatial and electronic effects of Ram's music. Actually, they were the result of electronic flute and in some cases, tenor alto and soprano saxophones (sometimes played 2 at a time) by John DeMartino. The band produced one album on Polydor in 1972 entitled Where? (In Conclusion). "

Fuzz, Acid & Flowers - American Garage, Psychedelic & Hippie Rock 1964-1975 says: "This heavy progressive album by a New York progressive outfit is becoming rare and in demand. It consists of five long tracks (one occupies the whole of one side). The music's full of complex arrangements, with lots of mellotron and flute as well as some vicious guitar leads."

---10/21/26

Time to enter into the UMR one of America's all time great prog albums. I said above: "Can you imagine a CD reissue with one or two extra epics like 'Aza'? For me, that could raise Ram to the very best the US ever put out, especially from the early 1970s.". Well it's already there, so I'm not sure what I was talking about. Maybe among the greatest albums ever if they did that. 

In retrospect I was all about Side 2 and somewhat apologetic towards the first side. While I remain incredibly impressed by 'Aza', the first side is an excellent example of both late psych and early hard rock. The flute giving it that European angle that was entirely absent on these shores back then. 

And yea, that second side. Wow. Has the intensity of Il Balletto di Bronzo's Ys. It's stunning. There was nothing at all like this in the States in 1972. It's as if they were dropped in from another galaxy. Instead of outer space, the prevailing theory is they were from New York, so we'll stick with that until other data emerges.

Ownership: 1972 Polydor (LP). Acquired in 1992.

The Akarma reissue is extremely iffy. Comes from vinyl without any corroborating data. So it stays on the CDRWL until something better comes along.

1992; 6/23/09 (review); 10/21/26 (new entry)

Goliath ~ England

Goliath (1970)

---Sep 2005

In the jazzy proto-prog area, with plenty of great flute, and sassy female vocals. One band that rarely gets mentioned as a comparison, but did come to mind here, is Fusion Orchestra. More gritty and less progressive perhaps, but does paint a pretty accurate picture. I also hear some melody / composition lines that recalled the great Diabolus album. Affinity with Linda Hoyle on vocals is probably the most obvious comparison and when they really get into jazz mode, Catapilla came to mind. 

---5/31/09

The more I hear this album, the better it gets. Along with the Time (on Buk) album, this would be my top request for a reissue from a classic UK band.

---10/20/26

That was the CDRWL entry, so this will be the first time I've heard the album in the UMR era. After all these years, the style that Goliath play remains a personal favorite. The British scene of the late 60s and early 70s were loaded with so much talent and imagination. Goliath were smack dab in the middle of it. I find music such as this very easy to listen to.

Ownership: 1970 CBS (LP). Acquired in 2009.

9//05 (review); 6/30/06; 5/31/09 (update); 4/26/10; 10/20/26 (update)

The only other release Goliath had was a 45 that featured two tracks from the album. Still not reissued (legit) as of 10/20/26. Seems like a perfect reissue candidate for the UK centric label Esoteric.

10/20/26 (new entry)

Reale Accademia di Musica ~ Italy

Reale Accademia di Musica (1972)

---May 2005

Here’s an album that has grown immensely on me over time. When I first heard it in the late 1980’s I was nonplussed. But in the last few years, its melancholic introspective songwriter style mixed with classically inspired prog rock has become highly appealing. Nine minute ‘Il Mattino’ captures this combination perfectly. Only ‘Ognuno Sa’ is tough to swallow (too singer-songwriter for me). Fantastic keyboards throughout (piano, organ).

---10/19/26

Time to enter into UMR. The album starts off somewhat slow, and not what one would associate with Italian prog rock. Great things reward the patient. Once the album catches the wave, the results are excellent. 'Ognuno Sa' closes off the A side, and yea, I guess it doesn't maintain the power of 'Il Mattino'. But I like it better than the review above implies. All of Side 2 is satisfactory, moving from standard issue Italian prog rock into heavy rock realms, almost like Uriah Heep would do at this stage. This shores up with the 1972 Italian scene versus the more adventurous 1973 scenario. I attribute this to all (well, most) of the bands challenging each other to reach newer heights of creativity. I talk about this phenomena in both the Semiramis and Alphataurus reviews. When evaluating 1972 (and 1971 by extension), there are many remnants of hard rock and late era psych still prevalent. Reale Accademia di Musica comes from this stock.

I find the entire gatefold cover extremely interesting. What kind of imagination comes up with this stuff? As the youngsters would say today - it's so random.

Ownership: 1972 Dischi Ricordi (LP). Gatefold. Acquired in 2005.

First copy: 1990 Contempo (LP). Gatefold. Acquired in 1991.

1988; 1991; 5//05 (review); 10/19/26 (update)

Sirius ~ Germany

Running to Paradise (1982)

---2/23/10

Sirius' debut is one of the better Genesis inspired albums out there and compares favorably to other German bands like M.L. Bongers Project, Ivory, or Neuschwanstein. As far as these kind of albums go, Sirius is better than most of their contemporaries. In fact, had they been part of the UK new wave of progressive rock, then I could imagine them having the same kind of success as IQ did.

---10/18/26

That was my CDRWL entry, so time for a relisten and to add to the UMR. What's interesting about Sirius is that their music is very much similar to the upcoming neo prog movement out of England. And yet their instrumentation is analog in the 70s tradition, including organ, flute, and violin. The latter trait recalls Hoelderlin at the time of Clowns and Clouds, which Running to Paradise perhaps resembles the most.

If classic Genesis is your bag, hard to imagine Running to Paradise not satisfying on some level. It's my bag, so yea.

No reissues exist as of 10/18/26.

Ownership: 1982 Brutkasten (LP). Gatefold with lyrics in the interior. Acquired in 2010.

1996; 2008; 2/23/10 (review); 10/18/26 (update)

Three Bushes review here.

10/18/26 (new entry)

Wapassou ~ France

Genuine (1980)

After the classically oriented, and somewhat stuffy Ludwig, Wapassou completely shifted gears. For a band that eschewed a drummer for most of their career, it's surprising to hear them return one year later with a funky, borderline disco album. It's so different you wonder why they didn't change their name to promote a new start. 

Once you understand that this album is nothing at all like their first quattro of works, you can begin to get your ears around what they're trying to achieve. This is my second session with the album, my first upon acquisition four years ago. I remember playing the album over and over, as it had a pleasant sound, not far from 80s new wave, yet still entrenched in the late 70s dance floor ethos. I wonder if the band had swapped monikers would it be more sought after today? There's some wonderful analog synthesizers moving it closer to the boogie funk genre. I enjoy newly hired Christine Maillard distinctly sweet French vocals. Yea, true, she can be overwrought at times, but I find her charming. The primitive keyboards of their 70s albums, along with violin, are still present and accounted for. All this leads to the final 11:30 minute track which is a throwback to their earlier style, still with drums though. This serves only to frustrate everybody - the long time fans seeking more of it; and the new audience who isn't particularly interested in haunting prog rock. For me it remains the highlight of the album, but then again I'm an unreconstructed progger at heart.

In all my years of collecting, no one talks these later Wapassou albums up. From a prog rock perspective I can understand why. I got this for all of $2 on ebay, so I couldn't resist at least trying it. Glad I did. In all sincerity, I appreciate this album more than Ludwig, despite its obvious try for broader acceptance. 

The cover art is genuinely (so to speak) bizarre. What the hell is that kid doing anyway? Could only be from France. 

Ownership: 1980 Sterne (LP). Acquired in 2022.

4/20/22; 10/16/26 (review)
 

Ludwig (1979)

In many ways, this is Wapassou's most artistically accomplished work. The classically influenced 34 minute title track is dense and complex, with Wapassou demonstrating their musical maturity over the course of both sides of the LP. And yet, I found myself missing the haunting atmospheres, and mysterious sounds of the previous three albums. Perhaps had they broken this composition into smaller tracks, where they could be dissected individually, it may have worked more smoothly as a whole. As it stands though, the sprawling piece can be impenetrable at times. For fans of the classic Wapassou sound, there is no doubt it is an essential purchase, but it does seem to be a bit too formal I'm afraid.

The CD features a six minute bonus track, which is a separate sound from the album proper. It uses real drums but sounds like a later effort. 

Ownership: 1979 Crypto (LP). Acquired in 2015.

First copy: 198? Omega Studio (LP). Acquired in 1990.

1990; 1995; 9/22/15 (review)

Messe en re Mineur (1976)

My notes on the debut state: "Wapassou are certainly one of France's most innovative bands of the 1970s. And that's saying something given the competition. Basically Wapassou are a drummer less trio, with Crumar organ, piano, synthesizers, violin, guitar, bass and female vocals. Haunting, atmospheric music."

Welp - that's about it! They've just stretched the concept to one 40 minute composition. The female wordless vocals are an acquired taste, but they are memorable nonetheless. And very melodic. There's really no other group like Wapassou during their prime. The fact they managed a three album run (and maintaining distribution from RCA) while playing music such as this - is rather remarkable. Even for France, a country known for avant-garde artistry, that's not typical. 

Ownership: 1976 Crypto (LP). Acquired in 2014

First copy: 198? Omega Studio (LP). Acquired in 1990.

1990; 10/10/11 (review); 2/8/23

Wapassou (1973)

Wapassou was certainly one of France's most innovative bands of the 1970s. And that's saying something given the competition. Basically Wapassou were a drummer less trio, with Crumar organ, piano, synthesizers, violin, guitar, bass, and female vocals. Haunting, atmospheric music. 'Rien' is chilling with Karen Nickerl's disturbed child-like vocals sung over a pervasive and doomy climate, and is arguably the album's highlight. 'Musillusion' is essentially Wapassou's anthem, and contrary to the prior song, is uplifting yet still manages to be melancholic. Side 2 of the album has more of a traditional rock band aesthetic with the inclusion of drums, something they were to eschew after this. For a band such as Wapassou, the additional rhythm and percussion is unnecessary for what the band is attempting to convey. Over the years, Wapassou's debut has entered into the absolute top tier of my album collection. A hidden treasure as it were. It sneaks up on you. One I think will get its ultimate recognition long after we're all dead.

The cover is a personal favorite and is a centerpiece of my "wall of albums". One of the last LPs I would ever sell. A true original LP is very rare. Omega Studio is a re-branding of Prodisc, so it's in effect a second pressing. 

All the CD reissues feature two bonus tracks which is a 45 from 1974 that is similar to side 2 of the album proper, with a more obvious rock context.

Ownership:

1987 Omega Studio (LP). Acquired in 1990.

2015 Lion Productions (CD). Digipak with complete liner notes in English, which I believe is the only release that isn't in French. This is the 3rd CD reissue for me to obtain (the others were the Si-Wan jewel box release and the Belle Antique Japanese papersleeve). This appears to be the definitive reissue. Acquired in 2023.

1990; 1997; 1/27/10 (review); 8/12/12; 8/23/23

Also own: Salammbo

1/27/10 (new entry)

Spooky Tooth ~ England

Spooky Two (1969)

As mentioned on the first post, I found this album on cassette at a garage sale of all things. The tape was sitting on Side 2, so we'll start there.

Fun to hear B3, as I've only known that song from Judas Priest's cover of it some nine years later. I've heard it dozens of times, so the original seems so tame in comparison. But one can see why they covered the song, as it's riff heavy. And it's not like the Priest had a Hammond organ, so there is some distinction.

Otherwise, I'm not getting too much out of this title. It reminds me of the lost year of 1970 albums coming out of North America. It's proto that I guess lol. A mix of blues rock, gospel, and mild psych. B1 is a good psych tune, and I recognize A1 from some radio airplay years ago. A4 has some decent guitar jamming. The rest doesn't go anywhere for me. I prefer the other two titles below, and by some margin.

A&M (MC). 80s pressing.

10/15/26 (review)   

Ceremony (1969)

If you read the below review first, this didn't quite go as planned. I still haven't heard my cassette of Spooky Two, but I found this LP at the Denver record show last week for a couple of bucks, and I fast tracked it to the front of the listening line.

Ceremony is the album they did with musique concrete legend Pierre Henry. It's more integrated than the Deep Purple Concerto album I just reviewed, but not by a whole lot. Spooky Tooth performs a mostly heavy blues rock that can get pretty freaky in places. This is Spooky Tooth at its best, and we hear this sound mostly on A1, B2, and B3. Some really great guitar jams. The music apparently was written for a Christian mass of some sort. The lyrics are heavily Christian, like a record coming from that genre. I wasn't aware Henry was so much of the faith. I'm rather certain Spooky Tooth were not, and they tried to disassociate themselves from top billing here. The album had potential to be a proto Krautrock classic. Imagine Pierre Henry pulling a Klaus Schulze, and the instrumentation lets loose for the duration. But it's way too ordinary for that, and blues rock is the end conclusion. An interesting album, though not something I need to keep. It did inspire me, however, to create a page for the band.

A&M (LP). Later 70s pressing.

4/18/26 (review)

It's All About (1968) 

Spooky Tooth is another one of those bands that I've known about for most of my record collecting life but never actually heard. Found a nice pink Island copy up in Denver. It wasn't cheap but it was a really good deal, and it's hard to pass on these early UK pressings. I would describe the music as a type of psychedelic soul. From the latter comes the passionate crooning. From the former is the period sounds and instrumentation. Nothing really blew me away here, but I found it a pleasant listen throughout. Also I came to learn that one of the album's best tracks 'Too Much of Nothing' is only on these early pressings. It was swapped out with something apparently lame on the subsequent A&M releases. I've been told their second album is much better. I have it on cassette of all things, so I'll get to it eventually unless I find the LP first. At that point I might build out a page for them. 

Ownership: 1970 Island (LP). Pink "i" label. Acquired in 2025.

4/29/25 (review)

4/18/26 (new entry)

Bill Bruford (& related) ~ England

Bill Bruford's Earthworks (1987)

Since I already added a page for Bruford, I might as well consolidate his other albums here as well. Something like Bill Bruford's Earthworks would normally find its way to the Journals otherwise.

Which is not to say I somehow don't like the music. It's absolutely fine, though it's not my favorite era nor my favorite flavor of jazz fusion. Getting some real ECM vibes here, that pervasive "need to be an adult" sprinkling that underground artists of the 70s felt compelled to do. The wild and wooly previous decade had passed, and everyone got a haircut, and were provided far better studio accommodations while at it. The technology had also improved, much to the detriment of the actual sound being projected. If only a raw psychedelic edge was applied, then it would be curious to hear the music in that manner.

This CD was part of a large grouping on ebay, of which a few of the titles were of interest to me. The rest I treated like throw-ins, like this title, and I'm certainly happy to check them out as I go.

I met Bill Bruford once. It was after a King Crimson concert in Denver circa 1995. We had one those backstage pass stickers. I've never been one to be star struck but my running set were all about it. He was certainly affable. As I reflect, I do recall having a certain "wow, I'm having a 1:1 conversation with Bill Bruford" moment. I tried to be respectful and offer up a more meaningful conversation, though I don't think anything I said captured his imagination. I was put-off by some of his remarks at the time. Some years later, as I thought about it further, I became sympathetic to Bruford. Night after night, talking to the same ol' prog dorks, about the same ol' crap. Though I tried not to be that, I'm rather certain I was just that. He was doing his duty and answering questions in a perfunctory manner. Just like sports figures do today. Tough business.

1987 EG (CD). Booklet with photos and a high brow jazz essay.

10/14/26 (review)

Bruford - Feels Good to Me (1978)

Somewhat typical "all star" cast gathering from the late 70s. The good news here is the strong Canterbury component brought on by Dave Stewart, Annette Peacock, and Neil Murray. I don't really hear any of Bruford's former bands Yes or King Crimson here, which is not a problem. At times the album seems on the border of greatness, but it often falls into the trap of many solo albums - too many disparate ideas and styles. It's a borderline Gnosis 10 to 11, but yes, I have to admit it is excellent on the whole, and much better than most that tried this very thing. Still... it seems it should have been better.

Ownership: 1994 EG (CD). Booklet with liner notes. Acquired in 2014.

10/18/14; 12/20/18 (review)

Also own: Bill Bruford's Earthworks - Random Acts of Happiness

Previously owned: Gradually Going Tornado

12/22/21 (new entry)

The Next Morning ~ USA ~ Brooklyn, New York

The Next Morning (1971)

The Next Morning are often compared to Jimi Hendrix, though they are much more hard rock influenced than psychedelic I'd submit. Now it could be said that Hendrix himself was moving in this direction, but I hear The Next Morning more in line with other early 70s American hard rock outfits. Heavy guitar, fuzz bass, and Hammond organ define their sound. I think given their unique Caribbean background, they had a different perspective than other groups of their ilk. You can even hear fellow Brooklyn Caribbean musicians Mandrill in their sound, minus the funk angle. Supposedly Columbia was interested in signing them, but I hear The Next Morning as a bit too primitive and amateurish for a major. They did ultimately sign with Calla, a subsidiary of Roulette. Not surprisingly, the album didn't sell all that well, hence its rarity today.

Though The Next Morning was founded by two immigrants from Trinidad, both were settled in Brooklyn and formed the band there. So they're really an American group.

Ownership: 1999 Sundazed (CD). Booklet with historical liner notes, lyrics, and recording info. Acquired in 2000.

2000; 11//04; 10/13/26 (review)

Cortex ~ France

Troupeau Bleu (1975)

---2009

A very fascinating jazz funk record. While not the most sophisticated album you’ll ever hear, it absolutely kills with breezy melodies, tribal / funky drumming, and the soft / seductive French female vocals. Nice driving bass and electric piano. The title track is sublime as is the catchy 'Mary et Jeff'. Other highlights include A5, B1, and the much sampled B3. Sits somewhere between the Belgian Canterbury Zeuhl group Cos and the more creative efforts of the NYC disco act Chic. 

---10/11/26

I played this CD quite a bit when I first purchased it. Troupeau Bleu is such a pleasant listen, and it's short, inviting multiple playbacks in a session. 16 years later, and I had a similar experience raising the grade to a +1. I wasn't aware of Sergio Mendes' work in 2009, but it becomes apparent how much Cortex borrowed that sound. The wordless and / or foreign female vocals, the friendly confines of Bossa Nova (or Samba in this case), and the uplifting melodies. Added is a jazz rock component that Mendes himself had experimented with on Primal Roots.

The CD adds one short bonus 'Jazz Dance' which is simply a variation of 'Mary et Jeff'. Nothing revelatory.

Ownership: 2008 Underdog (CD). Digipak with recording details. Acquired in 2009.

11/19/07; 1//09 (review); 3/14/10; 10/11/26 (update)

   

Volume 2 (1977)

Many, many years ago I heard Cortex's 3rd album Pourquoi? and trashed it off as disco, never bothering to return to the band name again. Now I'm wondering if there wasn't more there, as Volume 2 could just as easily be considered disco. But on close inspection there is so much more happening here, it would be a tragedy for fans of the French fusion sound to ignore. Sure there are the fat beats, especially on the opening track, and the requisite white-boy funk track to follow. But as the album continues, the beats become more subtle, with plenty of jazz fills, while the bass player introduces some Top / Paganotti moves. Horn charts, tortured electric guitar solos and piano / Rhodes leads began to dominate. And when the flute takes over... oh, those melodies will be forever etched. This is a really good one and you can boogie on down with it too. I can go for another helping of this.

Ownership: 2002 Follow Me Records (CD). Triple fold-out with liner notes. Acquired in 2006.

3//06; 2/27/10 (review)

Previously owned: Pourquoi. Need to revisit this title for certain.

2/27/10 (new entry)

AirSculpture ~ England

Impossible Geometries (1995)

---Apr 2005

First ten minutes are more in the ambient field, but they blast out with an incredible sequence, thus placing their stamp on the EM marketplace forever. Overall, this may be their weakest album, and I think that has more to do with the fact they haven’t bought all the cool equipment yet, especially on the analog side.

---10/4/26

This is where it all began for one of the more prolific Tangerine Dream styled English trios coming out of the 90s. I had called out Impossible Geometries as possibly their weakest album, and that may be the case. But it is their first and it remains a strong title. I'm inclined to keep this, and we'll see where the other two remaining titles land after evaluation.

Ownership: 1995 Neu Harmony (CD). Booklet with liner notes. Acquired in 2005.

4//05 (review); 10/4/26 (update)

 

Thunderhead (1998)

Airsculpture were one of a handful of Tangerine Dream revivalists coming from Europe in the late 90s. All of their albums are very good and consistent with the Berlin School aesthetic. Airsculpture are less distinctive than their brethren such as Redshift, ARC, Radio Massacre International, and Free System Projekt. This was the first one I bought by them, but I think I'll let it go.

1998 Neu Harmony (CD). Acquired in 2001. 

2001; 9/5/24 (review)
 

TranceAtlantic (2005)

Of the three prominent UK based Berlin School electronic revivalist groups, AirSculpture were the most purest. That is to say, they never ventured beyond the keyboard trio format. No forays into space rock, or modern electronics. No real drums, or electric guitar. Nope - just synthesizers. So for my tastes, they were the least interesting of the bunch, though I own all their works to the point of this album, as they certainly are very good at what they do.

Playing on another popular theme, this is AirSculpture's trip-to-the-USA album. Whereas fellow countrymen Radio Massacre International weighed in with Solid States, an album highly influenced by Tangerine Dream's Encore, AirSculpture's schtick was the use of acoustic piano that was procured for them onshore. Which I quite liked personally, and a rare deviation for the group. Piano is an instrument that works well in electronic music, providing the warmth and elegance missing in what can be a sterile genre if not done correctly. The album is over two hours long, and each disc opens with a lengthy piano section (I didn't time them, but they're not too long, just the right amount), followed by sequencers, and later, improvisations. That was their stated intention, and pretty much that's what these live concerts are. Two hours is a lot of music, so it's not the kind of album that captures your undivided attention for long stretches. It works better as a soundtrack to a country drive in the evening, or a quiet Sunday afternoon of introspection.

TranceAtlantic was pretty much the last hurrah for AirSculpture from a traditional release standpoint. It was their final CD release for Neu Harmony. The band is still active, releasing only downloads and CD-R albums, which is a pity (there are a couple of exceptions). I stopped here with AirSculpture as well, as it didn't seem the band were going to progress beyond the boundaries they set for themselves. Not necessarily a fair statement, since I haven't heard their albums of the last 12 years, but one based on observations of their first decade together.

1997 Neu Harmony (2xCD). Acquired in 2004.

9//04; 2/26/17 (review)

Also own: Attrition System; Quark Soup

Previously owned: Europa, Fjord Transit

3/4/17 (new entry)

2026 Revisits of prior UMR entries Vol. 11

Tusmorke - Underjordisk Tusmorke

Love Cry Want (1972)

I Califfi - Fiore di Metallo

The Bridge - Overdrive

Gabor Szabo - Live With Charles Lloyd

Mediterranea - Ecce Rock

The Next World - Symphonic Rock

Acintya - La Cité des Dieux Oubliés

Charisma - Beasts and Fiends

Mahoujin - Babylonia Suite

Hoelderlin ~ Germany

Hoelderlin (1975)

Hoelderlin's second album came three years later after their debut, and is quite a departure in sound. Opening up with a mellotron drenched prog rock instrumental, it's clear they've moved on from their Krautrock inspired folk sound. While the second track is folk based, it's more Jethro Tull than Emtidi or Broselmaschine. There are elements of Traum on A3 with its dark folky presence, though most of the composition is of a symphonic prog nature. A4 has a Genesis flavor due to the vocals, though it's a relatively straightforward song. This leads to the side long 'Deathwatchbeetle'. If there's any doubt where Hoelderlin's heart is, then this track underscores the point that they are ensconced into the prog world. Genesis remains a strong presence in their style at this stage.

Ownership: 1977 Spiegelei (LP). Acquired in 1993.

1993; 1995; 1998; 7/8/06; 10/3/26 (review)
 

Rare Birds (1977)

Rare Birds follows the unique Genesis meets cosmic / space rock hybrid of Clowns and Clouds, with yet another difficult-to-pin-down progressive rock album. The compositions are increasingly more accessible, with a certain soft lens focus coloring their sound. Viola is clearly their defining instrument at this point. Vocals are airy and melodic. The songwriting is excellent, and given the right commercial backing, Hoelderlin would have been household names. From a prog fans standpoint, the album's highlight is the driving instrumental 'Necronomicon'. This is an album that has grown on me tremendously over the near 30 years I've been acquainted with it. Definitely not an "immediate" release, so something to consider if you're encountering the music for the first time.

Ownership: 1977 Spiegelei (LP). Acquired in 1987.

1987; 7/10/07; 8/14/12; 10/11/15 (review); 2/7/23

Clowns & Clouds (1976)

Clowns and Clouds, Hoelderlin's third album, is a diverse work from this classic 70s German symphonic progressive rock band. No doubt Genesis is a major influence here, especially on the 'Clowns' side (tracks 1 to 3). 'Madhouse' could easily have been lifted from Genesis' Trick of the Tail, but with the addition of viola and squealing sax, which gives it an entirely unique sound. 'Your Eyes' is interesting to me, because it sounds like something you'd hear on a late 70s / early 80s Alan Parsons Project album, though the instrumental sections are much more progressive rock oriented. The 'Clouds' side is considerably more unique and is what makes this album special. Here, Hoelderlin offer up a more laid back and cosmic rock music. Violin, flute, sax, Rhodes, synthesizers, acoustic + electric guitar, and a steady rhythm section make for a serene and beautiful experience. Difficult to find comparisons for this side of their music, but perhaps the instrumental sections of Novalis' second album and Dawn-era Eloy can provide some context. The cover features a nice water painting.

Ownership: 1976 Spiegelei (LP). Acquired in 1993.

1993; 1995; 5/8/12 (review)

Also own: Holderlins Traum; Live Traumstadt

5/8/12 (new entry)

Steve Hillage ~ England

L (1976)

I was late to the party on getting the scent regarding Fish Rising. But I was really late in obtaining L. I remember seeing this title in the used record stores while in college during the middle 80s. For whatever reason, it didn't capture my imagination, so I left it there. I'm sure I heard the album prior to 2014, but I couldn't remember anything about it. Well, I could say the same thing now, as I revisit the title for the first time in 12 years.

The album opens up quite unusually with a cover of Donovan's 'Hurdy Gurdy Man'. This is followed by a space rock jam supposedly based on the song, though there's no musical evidence of a connection. It's quite spirited, and takes Hillage's You-era Gong style to a similar spot in the galaxy. It becomes clear at this point that there will not be a Canterbury component as on its predecessor. Rather Gong becomes front and center. The music is a mix of cover songs and Gong styled space rock jams. It's this latter sound that Ozric Tentacles would take forward into the 80s and beyond. There's about 25 minutes of really great music, and the remainder is a bit tedious. Not a bad average, and given its influence on future generations, the argument is strong that the album remains in the collection even if it doesn't always pass the bar.

The CD offers three bonus tracks, including an instrumental backing track to The Byrds' 'Eight Miles High', certainly a better fit musically than the Beatles and Donovan covers that made it to the album. The other two bonus tracks are worthy as well. The LP is still a cheap commodity here in the States, giving the CD the edge in both content and marketability.

Ownership: 2007 Virgin Europe (CD). Booklet with historical liner notes, photos, memorabilia, and recording details. Acquired in 2014.

11/22/14; 9/29/26 (review)

Fish Rising (1975)

Steve Hillage's debut is sort of an amalgam of You-era Gong and Hatfield & The North. Certainly the godfather of modern space rock, Hillage's group looks like a proto Ozric Tentacles, complete with wool caps, goofy names, and crazy song titles. Then there's Dave Stewart, probably the last guy to go in for such tropes, though he has history with Arzachel doing just that. With Hillage. Ah what the heck, one more time going out getting high with the boys (and girls) from school before getting serious. Well, sort of serious. So yea, Canterbury goes space rock. A combination that can be nothing but great, especially if one sticks to protocol. And they did.

This is one of those albums I somehow missed in college, but my running set in the early 90s showed me the way.

Ownership: 1975 Virgin UK (LP). Lyric insert and a label audiophile inner. Acquired in 2014.

First copy: 198? Virgin (CD). Acquired in 1992.

1992; 12/27/21 (review)

Also own: Green

Previously owned: Live Herald; Rainbow Dome Musick

12/27/21 (new entry)

First Aid ~ England

Nostradamus (1977)

---2/9/11

OK, I've looked all over my LP for evidence. The label says 1976 and the gatefold cover says 1977. It just can't be. It has to be 1971 right? Even the old style Decca label seems ancient. Everything about it looks and sounds from another era. Did Decca have this one sitting in the vaults - perhaps mislabeled, and decide to release it six years later? Nostradamus, as you can imagine, is a high minded concept album about the supposed fortune teller. Complete with orchestrations, narration - and long guitar / organ jams. Intertwined with melodic pop songs of course. Right on Brother! If this sounds like something out of the Moody Blues or Salamander playbook, well then, you win first prize in the name-that-band sweepstakes. Of course, given this kind of anachronistic behavior, I think it's great. 

---9/29/26

That was my CDRWL entry. Time to enter into UMR while enjoying a revisit. More about the date, as Discogs had it listed as from 1976. For my correction submission notes, I added: "The dates on the label say 1976, but inside the gatefold it is 1977. Further, keyboardist Keith Parkinson offered this on RYM: "This album was recorded in 1975. Unfortunately, this was shortly after the release of a book about Nostradamus. The author of the book tried to sue Decca for copyright infringement. The author was unsuccessful but this delayed the release of the album till January 1977.""

In reading this, Parkinson (who was responding to my review actually) clearly was making the argument the album was relevant for 1975, but I'd beg to differ. It really does sound like a Moody Blues album circa 1971, had they focused on a prog rock theme, versus striving for hits.

I find music like this enjoyable from a nostalgic perspective, including the sentimental melodies. I suppose a band like Strange Days, heck even Kestrel, were peddling this kind of sound as late as 1975. So I can see Parkinson's point of view a little better. It's a nice title, one that I will certainly hold onto. Yet it would be a long time before I pulled this out as a supreme example of prog rock of the 70s.

Of interest, in the olden days of the rare prog catalogs, this album was sold with the title First Aid by the group Nostradamus. In fact, I think I bought my copy with that designation.

Ownership: 1977 Decca (LP). Gatefold. Acquired in 1995.

1995; 2/19/11 (review); 9/29/26 (update)

No reissues exists as I enter this on 9/29/26.

9/29/26 (new entry)

2026 Fusion / Jazz Journal Vol. 5

*Weather Report - Sweetnighter. 1973 Columbia (LP). As with Metheny, Weather Report is not a band I have gravitated to prior. According to my database, I've parted with all five albums I've heard by them. All come from recent listens / re-listens. No matter, as I will continue to pick up any title I haven't heard prior, and some of their early albums bring in some revenue. Sweetnighter is their 3rd studio release. Have I finally found the Weather Report album I've been looking for? I think so! And, no surprise, this is the highest rated studio album from my Gnosis compatriots. RYM has it second behind Black Market, an album I have yet to hear. ProgArchives puts it in third behind Black Market and Mysterious Traveler. The latter is good for sure, but nothing distinctive. So why am I enjoying this one more? I like the funky rhythms for one thing. It really has a deep groove. And kudos to Zawinul for turning his electric piano into a wah wah guitar. Wayne Shorter's sax sounds more like Tim Belbe of Xhol, which is the perfect tone for this kind of music. No squealing and skronking. And this is a long way from their more measured late 70s works that could have, or should have been, on ECM. Definitely need to hear Black Market, but at least I have one representative from Weather Report, which has been my wish from the beginning. (9/28)

Pat Metheny Group - Offramp. 1982 ECM (LP). I debated putting together a page for Metheny, since his albums come through here from time to time. They sell well at the shows or at the shop, so I pick up every single one I find in the cheap bins. But I'm not really a fan, struggling to keep even one, as of this date anyway. I just realized I haven't even taken notes on the albums I have heard by him. Including Offramp, an album I've found at least three times since 2019. The problem is I've used up all my good material on Metheny already (the Dan Marino card was a good one Genius Hans). That is to say... I have nothing to say really. It's the ECM sound for the crowd that went from 70s wild childs to 80s businessmen. It's quality music for certain. It's just so... predictable. And dull. (9/28)

*The Halls of Music - For a Five Dollar Bill. 1973 private (LP). My intention was to add this to the Unknown Vinyl Records blog only to find out it really isn't that obscure. I'm not sure why I didn't see it in the first place. All the same, I would have picked this up anyway. It's a private release from Albuquerque with only three performers: John Hall on Organ, Electric Piano, and Pedal Bass. Kaye Pearson-Hall on Vocals, and Jay Blea on Drums. With that lineup, it could be prog rock to lounge. I find the descriptors on Discogs and RYM misleading here (lounge, funk). To me this is Hammond organ based soul jazz not that far from what Shirley Scott or Jack McDuff would release. It's mostly instrumental until the end of Side 1 when Pearson-Hall brings in her Anita O'Day styled vocals and that continues through the flip. Neat little local area piece worth keeping. (9/9)

* - Keeping for the collection.

Nektar ~ England

Remember the Future (1973)

I recently read someone comparing Remember the Future to Jethro Tull's Thick as a Brick. I thought that was very insightful. He was clear in stating the music wasn't similar, but rather the idea of two side long cuts forming one composition, and from veteran bands. Both who seeked out a new musical landscape for themselves. As noted on the Journey To the Centre of the Eye review, Nektar were very much a UK styled space rock group. With some German sensibilities, but not a Krautrock band really. I have yet to review A Tab in the Ocean but my recollection is that Nektar was beginning to turn the dial from space rock to prog rock, and likely hit their peak in doing so. They are now on the prog rock side of the lake. Many point to Pink Floyd as an influence here, but I just don't hear it. Floyd never had this kind of urgency in their music. Or at least not since their 60s psychedelic freakout days.

I appreciate the focus on songwriting here, and I like the way the album flows, though it isn't really coherent. I don't hear a central theme, the music just goes from one idea to another, similar to modern prog metal bands.

The more generalist RYM has this as Nektar's highest rated album. Interesting then, that the two prog leaning sites Gnosis and ProgArchives favor A Tab in the Ocean. I'm not sure where I land, though it's almost certain Tab will be my favorite too. Second place? At the current time I'm thinking both Journey Eye and Recycled get the edge here.

Ownership: 1973 Bellaphon (LP). Gatefold with lyrics and photos. Back cover has recording details. Acquired in 1990.

1990; 2002; 9/26/26 (review)

 

Recycled (1975)

I've referred to this album a couple of times in my reviews below. Essentially Recycled is a progressive rock comeback album, done at a time when such things would have been rare. It was to be a one-off relapse, as it were, and a darn good one at that. Starting with a symphony of tympani, Nektar makes no bones about the fact that they intend on going all-in for prog rock for the memories. Side 2) takes on an earlier outlook from the band, exploring space rock themes with a touch of funk, giving its only nod to commercialism. 

Ownership: 1975 Bacillus (LP). Poster insert. Acquired in 2015.

First copy: 1976 Passport (LP). Acquired in 1992.

1992; 12/31/12; 11/19/15; 12/16/25 (review)

Journey to the Centre of the Eye (1971)  

Given that Nektar were formed in Germany and the imagery they put forth on their debut, I have a tendency to lump this album in with Krautrock. As I mentioned on Emtidi's Saat album the other day, you know Krautrock when you hear it. And Journey to the Centre of the Eye isn't it. Later albums are more obvious on this front (being more overtly progressive rock), but the debut is more experimental. In a similar way that same era Pink Floyd and Hawkwind are. This is space rock through and through. Perhaps to its detriment. Some of the downtime portions could use some of that Krautrock atmosphere that's missing. It's still a darn good listen with 'Burn Out My Eyes' being a particular highlight. In fact Side 2 does overshadow the flip, leaving a strong impression afterward. Before last night, I would have argued that Journey to the Centre of the Eye is my favorite Nektar. Something tells me one of their next two will be now.

CD includes their 1972 single 'Do You Believe in Magic' and '1-2-3-4'. Both good tunes but not enough to keep the CD for. Both of these were extended on the Sounds Like This album.

Ownership: 1972 Bacillus (LP). Gatefold. Acquired in 1988.

1//88; 2/13/07; 8/26/23 (review)

Down to Earth (1974)

As with Magic is a Child, I hadn't actually heard Down to Earth until now. Or I probably did in snippets and walked away in disgust. This is exactly the type of album that would not have appealed to me at age 21, or 31, maybe even 41. But at 51, I hear it in a different way. Managing expectations is everything, and it's not unreasonable for someone to approach this expecting to hear the sounds of the album before (Remember the Future) or after (Recycled). In fact, the latter album probably has more to do with the negative impression in modern times, since it was rare for a band to make a "comeback" like that in the 1970s. Just about every progressive rock band found their way to commercialism over time. 1974 was perhaps a bit early to jump the shark as it were, but in retrospect this album was actually ahead of its time, though I'm sure audiences back then were quite baffled by it. So in the end, had the band renamed themselves Ratken for this album, it probably would have been received better.

And after hearing it intently, I was quite surprised at how progressive it actually is. It's tighter and doesn't possess the long stretches of progressive space rock, so on the surface it seems less complex. 'Nelly the Elephant' is startling in that it sounds more like a horn rock track from 1970. It reminded me of the UK band The Greatest Show on Earth actually (circus themes?). 'Early Morning Clown' wouldn't be out of place on a Jonesy or Fruupp album. And 'That's Life' sounds like an outtake from Yes' Fragile session. In fact, only the relatively dull song 'Little Boy' ended up being a slight disappointment. This is a very good album to my ears, and I suspect will always be misunderstood. I can see I'm of the minority opinion on this one. OK, fair enough.

Ownership: 1974 Bacillus (LP). Gatefold. Quad. Acquired in 2023.

1/23/16 (review); 8/5/23

Man in the Moon (1980)

With Magic is a Child, I am admittedly somewhat an apologist for Nektar, stating it's a fine AOR album - with mild progressive tendencies - typical of the late 70s. Man in the Moon, on the other hand, pretty much blows from beginning to end. Why a band with a progressive space rock / prog rock background, needed to take sell-out radio era Supertramp and Journey as a blueprint is anyone's guess. Though the answer is obvious of course. Desperation. As in desperate to stay-in-the-game. And because of that, history will penalize this pathetic pandering to the masses. There are flashes of their old selves, especially on 'Torraine', but otherwise this sounds like a 50 year old boxer who says he has one last fight in him. "No... you don't". And this was the end of Nektar for 21 years.

Source: 2006 WHD (CD). Papersleeve edition.

5/17/16 (review)

Magic is a Child (1977)

Well, believe it or not, I'd never heard this record until now. And probably never would have, were it not a throw-in to another LP deal I just purchased. Good thing. Had I heard this 30, or even 20 years ago, I would have dismissed it out of hand. But with my ears today (oh these ears, I tell ya...), I hear exactly what Nektar was going for and honestly they did a great job at it!

And what they were going for was FM radio airplay. For whatever reason, the radio guys didn't feel there were any hits here. But I disagree, as seven out of the nine songs here could have easily caught on with the 1977 crowd. So yes, Nektar are a long way from their (recent) progressive rock past - and even further from their space rock roots. But this is still some fine sophisticated AOR, or what we used to call "pomp". A precursor to the neo-prog (later interpretation of said movement) sound honestly.

Good album if bands like Styx, Citadel-era Starcastle, City Boy, and others of its ilk appeal to you.

Ownership: 1977 Polydor (LP). Acquired in 2015.

12/6/15 (review)

Nektar reformed in 2001 and have released an impressive seven albums since. Mostly to middling reviews, though my curiosity remains piqued. 

Also own: A Tab in the Ocean (both versions)

12/6/15 (new entry)

Catharsis ~ France

Et S'aimer et Mourir (1976)

Catharsis' 6th, and last, album (not counting one reunion) shows the band more in jazz fusion territory. Much more accessible than their earlier works, the focus here is on both the melody and the beat. Bolded on each track is the Synthorchestra Farfisa, making it look like an advertisement for the new instrument. The music isn't so far from the jazz funk scene of Placebo, Solis Lacus, and Cortex, though it's more measured, at times mellow, and less robust.

1977 Festival (LP). Gatefold. Back cover has the recording details. Acquired in 1994.

1994; 1996; 6/20/15; 9/25/26

Catharsis / Volume II "Les Chevrons" (1972)

Catharsis' second album is quite simply music for liquid light shows. Head music as they would call it back in the day. I found this to be an improvement from their debut Masq. The instrumental psychedelic rock music of Les Chevrons is more compact, and demonstrate more compositional quality than the strictly atmospheric Masq. The title track, with its haunting organ melody, is particularly memorable. This isn't meant to be challenging prog music. Kick back, digest your beverage of choice, and let the music take you to new places you haven't been. Or at least enjoy the slide projector.

Ownership: 

1975 Festival (LP). Gatefold. Acquired in 1994.

1990 Griffe (CD). Includes all of Masq and three different songs from various singles.

1994; 4/3/13; 3/3/24 (review)

Vol. 4: Illuminations (1972)

Even though this is Catharsis' 4th album, and many online discographies list the album from 1975 - in reality it was recorded at the same time as their first three albums (including an EP). Musically it ties closest to their debut Masq. Essentially it's atmospheric rock music with wordless female vocals and a psychedelic backdrop. Not the kind of album to knock your socks off (presuming you would want such an occurrence), but for a pleasant mid-evening listening session, it serves its purpose.

Ownership: 1975 Festival (LP). Gatefold. Acquired in 1996.

1996; 11/18/20 (review)

Catharsis / Masq (1971)

Catharsis' debut is like an imaginary instrumental psychedelic soundtrack album, with wordless female vocals. 1969 Pink Floyd plays a huge role in their sound at this point in their career. It's mostly atmospheric, and doesn't offer much detail for the attentive listener. However, as background music while driving, it more than serves its purpose. 'Tunnel Extatique' is certainly the highlight of the four track set.

Ownership: 1990 Griffe (CD). Includes Les Chevrons. The title is a bit misleading because it indicates that you are also receiving the 3rd album - an EP called '32 Mars'. This is not the case. Rather you receive three singles, including the aforementioned 'Masq', in addition to the single edit version of 'Les Chevrons' and, of course, '32 Mars'.

First acquired the LP in 1993.

1993; 1998; 4/3/13; 9/1/19 (review)

Three of the early Catharsis albums were self-titled, so when Festival reissued their early albums in 1975, they appended titles to them. Those names stuck, as that's how many collectors refer to their albums by. Catharsis were a relatively popular band in their day with six albums and 13 singles, not counting the many collaborations they were involved in.

Other albums I own: Le Bolero du Veau des Dames

9/1/19 (new entry)