Agropelter ~ Norway

The Book Of Hours (2025)

So what is an Agropelter anyway? AI tells us: "A legendary "fearsome critter" from North American lumberjack folklore, said to inhabit hollow trees in coniferous forests from Maine to Oregon. It is depicted as an ape-like creature with a slender, wire-like body and long, muscular arms used to break off and throw branches at loggers." Leave it to the Norwegians to reference an obscure American folklore legend. One I'd never heard of, for certain. No takers for Punxsutawney Phil, huh?

I had been told that Agropelter were exactly the type of retro prog I would enjoy. I was certain that was true, though I have so much of it already, I hadn't pursued the title with earnest. The label owner had a different point of view considering my apathy, and so here we are.

Agropelter are, at this point anyway, an instrumental project surrounding a one Kay Olsen, who is the composer as well as providing much of the salient instrumentation (guitar, bass, organ, synths). He surrounds himself with some prog rock A-listers to ensure a built-in audience awaits. Many guests are on hand to provide anything from grand piano, flute, cello, mellotron, duduk, and beyond. The instrumental palette is rich and wide. 

The opening 'Flute of Peril' brings in that familiar melancholic dark and misty mellotron heavy Scandinavian flair that Jordsjo has so completely mastered. Ah, but we get our first curveball on 'Leviator'. A more direct sound, with synthesizers played in the mid 70s style. An almost American approach, perhaps even Kansas when in their instrumental flights of fancy mode. Or Ethos for a more obscure reference. The synthesizers often recall early 80s Tangerine Dream, a welcome diversion from the usual early 70s recipe. It's no surprise, then, that Olsen name checks Vangelis. The latter when in rocking mode I hasten to add. The other artist Olsen references is Terje Rypdal, and one can here that especially in the bass heavy atmospheric portions. Though, to be clear, The Book of Hours certainly doesn't veer into fusion territory all that much. This is symphonic progressive, true to the meaning of the first word. In fact the rhythms are rather straightforward for this kind of album, once again pointing to an 80s heritage. I'm reminded of many a Dutch band operating in this space. When hearing it in this light, the ghost of Camel appears from the hallowed halls. The Par Lindh Project also comes to mind, especially considering the classical leanings.

Retro prog can mean many things, though it has become a euphemism for the darkened prog that Anglagard started and groups such as Wobbler, Agusa, and Jordsjo have taken forward and further mastered. Agropelter is decidedly not of that branch of the tree. The Book of Hours reminds me of the optimistic time in the 80s when much was still left to be discovered, and yet the corporate world of music was holding most everyone back. There were shoots of green grass everywhere though. Agropelter would have been one of those. Hard to capture that time and place so well, as it was far more subtle than the grandiose and well documented progressive rock scene of the early 1970s. This is one of those niche within a niche albums that is almost always worth exploring.

So yep, as predicted by those in the know: It's exactly the type of retro prog I enjoy.

Ownership: 2025 The Laser's Edge (CD). Digipak with recording details. Acquired in 2026.

2/2/26 (review)

Hopefully this isn't a one off project.

2/2/26 (new entry)

The Rolling Stones ~ England

Their Satanic Majesties Request (1967) 

I'd written about many of the Stones albums (see below), most of them unflattering, and yet I had managed to skip over my favorite one - by far. There are a couple of their classics that I have yet to revisit in modern times, so we'll see if this remains my favorite in the end (probably).

Even though The Rolling Stones are a 60s band in heritage, I don't tend to think of them in that way. They didn't embrace the psychedelic, not like their peers the Beatles did. The exception is, of course, the album I'm listening to now. Many suggest they were just ripping off Sgt. Pepper's, and if so, they most certainly outdid them as far as psychedelics go. Personally I'm of the mind that Magical Mystery Tour captured the Beatles' psychedelic excursions far better than Pepper's ever did. I had fully expected to see this album bolded with a very high rating on RYM, but alas that's not the case. And that's most surely because it veers way off their usual sound. For psych heads, it could very well finish first among them all. But for your average Stones fan, this album is a mere curiosity, even an annoyance.

Some of these tracks get waaaaaaay the heck out there, far more than most albums that have the psychedelic tag next to them. They can be as zonked out as the top classics in the genre. It would have been interesting to see the Stones continue in this manner for a few albums, or even embraced progressive rock. I would have been a big fan in that parallel universe! But instead they pivoted to "roots rock" on their first truly high rated album Beggars Banquet. It wasn't that long ago I heard that album, and I found it appalling (see below). But that's what their audience wanted to hear, and quite honestly, I'm sure that's what they wanted to play. Fair enough, that's who they are, and they made a fortune doing it. Can't argue with that. 

Ownership:

1967 London (LP). Lenticular gatefold. Acquired in 2021.

ABKCO (CD). Mid to late 90's pressing. Booklet replicates the psychedelic inner gatefold. Acquired in 2026.

9/5/21; 2/2/26 (review)

Sticky Fingers (1971)

Continuing on with my 50 cent CD finds is The Rolling Stones highest rated album Sticky Fingers. RYM also has it as #13 for all of 1971, arguably rock's greatest year of innovation. There are four bonafide hits to be found here, so it's one of those albums you already know even if you don't think you do. I'd heard it in full back in college, but the truth remains, I'm just not a Stones fan, and this is not the album that will sway that opinion. 'Sway' is a track here too, hmmm... As is often the case with The Rolling Stones, their charted singles are usually the best tracks. 'Brown Sugar' assuredly is the most famous cut here, and it's one of my least favorites - a track I've had to endure since the first day I dialed into the FM radio. 'Wild Horses' is a nice ballad, not extraordinary though. Hardly 'Stairway to Heaven' but for a band with an attitude like the Stones it does provide nice contrast. 'Bitch' has a good riff and is my second favorite song on the album. The gem of the album though is 'Can't You Here Me Knocking' that is not only the best composition, but they get into a rare jazzy jam while at it. Really the Stones should have done more of that (see 'Time Waits For No One' at the bottom of this post). They certainly had talent, but they kept everything compact and tight for the most part. I remember recording this song from the radio when I was 12. I had no idea it was the Stones until years later. I liked it then, and I like even more now. As for the other six songs here, you can keep them. More of the standard blues to country blues that I suppose their fans ate up at the time, but retrospective reviews aren't as kind.

Source: Rolling Stones Records (CD). Late 80s pressing

3/4/25 (review)

Beggars Banquet (1968)

One of their highest rated albums (4th according to RYM), I haven't the slightest idea why that would be the case. Mostly this is blues, and really country blues. Not where I want to be with The Rolling Stones. Most of their albums have a hit or two, and in this case they are 'Sympathy for the Devil' and 'Street Fighting Man'. Those are my fave two from this set as well, and they're not that hot to begin with. At this point in my Rolling Stones journey, this is the bottom of the stack.

Source: 2002 ABKCO (SACD). Also had the LP once from RT but sold it off before digesting the contents.

2/14/25 (review)

Between the Buttons (1967)

This is the second copy I've had float in here. The first was from a collection buy at the end of 2019. It wasn't in very good shape, so when this much nicer LP showed up in RT's collection, I pulled it aside for another listen. My opinion remains unchanged. I find this album fairly static and boring, and the radio hits here are more annoying than pleasurable.

Source: 1967 London (LP)

12/31/21 (review)

Black and Blue (1976)

Not a big fan of the Stones as it is, but I figured something from this period would have no chance. Boy was I right. This was worse than I expected, and that is a very low bar. Talk about a "throw in" album. Contractual obligation and all that. I guess the guitar audition aspect is its only redeeming factor. My least favorite along with Beggars Banquet.

Source: 1976 Rolling Stones (LP)

7/17/21 (review)

Goats Head Soup (1973)

Earlier recording and a little bit better than the above. Still there's nothing here that I would want to return to. Side 1 is average and Side 2 is disappointing. The big hit here is the ballad 'Angie', a song I could go a lifetime without hearing again.

Source: 1973 Rolling Stones (LP)

7/18/21 (review)

Out of Our Heads (1965)

This is clearly their transition album from Chicago blues to psychedelic and hard rock. Here's where you'll find 'Satisfaction' (on album), as well as 'The Last Time'. The Jagger / Richards originals are much better than the covers. It seems they weren't quite ready to take off the training wheels just yet.

Ownership: London (LP). 70's pressing. Acquired in 2021.

4/12/21 (review)

Emotional Rescue (1980)

This is the second copy of this album I've found in the last couple of years. I forced myself to listen to it all the way through. I don't remember one thing about it. That was last night. Less than 12 hours ago. I can't imagine the allure of this era of the band. As I said about The Who, the albums by the legendary 60s bands coming into the 80s were rarely of note.

Source: 1980 Rolling Stones (LP)

1/21/21 (review)

The Rolling Stones, Now! (1965)

I've been going soft on these early titles, stating that they mostly fall out of my interest area, but I can still appreciate what they're doing. But on this, their 3rd release, I couldn't find much to hold onto. Mostly it's old-timey blues and rock-n-roll. They were still in the midst of the Hit Parade, and hadn't found their unique sound yet. All the same, this isn't for me.

Source: 1965 London stereo (LP)

12/28/20 (review)

Jumpin' Jack Flash / Child of the Moon (1968)

The a) side is almost as ubiquitous as 'Satisfaction'. I'm just not as keen on it. It's 'Child of the Moon' that's the money piece here, at least for us psych fans. I'd never heard it until now. It's not awesome by the way, but pretty good on the whole. The final conclusion though tells me I can live without. 

Source: 1968 London (SP)

12/20/20 (review)

(I Can't Get No) Satisfaction / The Under Assistant West Coast Promotion Man (1965)

If you don't know the A) side you are then a very young person, otherwise an impossible situation. And it really is the draw here. The flip is bluesy rock with harmonica, nothing special

Source: London (SP). Later 60s pressing

12/20/20 (review)

12 x 5 (1964)

Yea, this is too early for me. At this point the Stones are not really the Stones. They're finding their way, playing music that was popular in its day. Blues rock, pop, RnB, mod, even rockabilly! A respectful effort, but out of my comfort zone. 

Source: 1964 London (LP). This was a unique pressing that I added to Discogs and since sold.

12/5/20 (review). I just realized the day I heard this. How crazy is that?

Aftermath (1966)

OK, so this is where 'Paint it Black' comes from. If I were to name my favorite Stones song, this would probably be it. 'Under My Thumb' also appears here. Usually that track ends up being covered somewhere, and never that great.  But this version has an odd jazzy feel that I like. But mostly the album is blues rock, and for certain ahead of its time, including the eleven and a half minute closer.

Ownership: 1966 London mono (LP). Acquired in 2020.

11/29/20 (review)

It's Only Rock N' Roll (1974)

Well I'm sure it comes as no surprise that I have very little use for the Stones. I do need to spend a bit more time with their 60s work, but to date, I can't really stomach any of their 70s / 80s albums. And this is no exception. However.... there is one great track that I couldn't believe was the Rolling Stones. A jazz rock number called 'Time Waits For No One'. A great six and a half minutes buried in the middle of this teenage wasteland. All these years, and I never once heard this on the radio. 

Source: 1974 Rolling Stones (LP)

10/9/20 (review)

I'll keep reviewing them as they come in, though some of the later titles will get skipped over.

2/16/25 (new entry)

Spirit ~ USA ~ Los Angeles, California

The Family That Plays Together (1968)

Right from the beginning you'll hear one of Spirit's classic anthems 'I've Got a Line on You', harkening back to their strong songwriting skills displayed on the debut. Released at the tail end of 1968, Spirit demonstrated they were ahead of their time (especially in the US), eschewing standard hippie fare, embracing the psychedelic with a jazzy, and even progressive rock, slant. Unlike the debut, there are no extended pieces.

As with Blue Oyster Cult, your interest in Spirit's individual albums will fall squarely on whether or not you like their songs, rather than sophisticated arrangements or highly technical solo instrumentation. I'm not too keen on A6 or B4, but otherwise I find The Family That Plays Together a pleasant listen.

I love that respected jazzer Marty Paich was involved with these guys in their early days. Clearly Ed Cassidy's influence there. As with Sabicas and Joe Beck, you don't usually see that kind of generational interaction in the early days of rock. Though Spirit were built that way from the beginning.

The five archival bonus tracks are more instrumental in nature, and mellower. They're very much in the same style as the album, especially within the jazzier spectrum (recorded near the same time). I found that any one of these would have resulted in a slight upgrade to the album proper.

Ownership: 2010 Ode Epic Legacy Europe (5xCD). Original Album Classics. Acquired in 2021.

10/24/21; 2/2/26 (review)

 

Spirit (1968)

After the original insane lockdowns of the pandemic, the magnanimous government of Colorado "let us" have a bit of our freedom back. So glad we live in a free country. A teaser of the communism to come I guess. Hey, it wasn't safe. Ya-huh. In any case, as soon as I could go to estate sales and thrift shops, I did. With my stupid mask on. 

I bring this up on the Spirit post, because for whatever reason, the first LPs I was finding right away were from them. Most not in the best shape. A year later (still under some sort of edict), I found the five CD Original Album Classics series, and I sold off the LPs, and that was the end of my initial Spirit exploration.

Except I didn't document any of those listens, beyond some brief notes for Clear. The exception to my Spirit renaissance was the first album, as I'd randomly picked up their CD some 15 years earlier. I'll start here and also review the others in the coming weeks.

I consider Spirit a highly unique band. They didn't rely on instrumental prowess, or any other crutch, to hide their inability to write a song. And that was their strength - an innate ability to craft melodies. And they were strong arrangers. So, yes, perhaps 'Taurus' being the most famous with a chord progression most known as 'Stairway to Heaven'. I'm one to give Zep a break here, as they most certainly fleshed it out much further, and only one central theme is familiar. Best guess it was a subconscious event rather than purposeful deceit. If one is to call out an instrumentalist, it most certainly would be the guitar of Randy California. And really love his acidic tone when employed.

There's elements of psych, jazz, and early prog concepts. The Beatles songcraft is also apparent at times. The exception to the tightly woven songs is the lengthy album closer 'Elijah" that shows the band were comfortable with instrumental jamming as well. Here, the flow recalls the Doors a bit. Or vice-versa.

The bonus tracks, on the other hand, seem to refute my claim about them being songwriters first, and jammers second. Really enjoy this side of Spirit as well. I hear these bonus tracks as essential to the overall experience.

Ownership: 
1996 Ode Epic Legacy (CD). Booklet with full historical liner notes and four bonus tracks. Acquired in 2005.

2010 Ode Epic Legacy Europe (5xCD). I only kept the original Legacy CD for the liner notes, and that it possesses little value. Otherwise, the bonus tracks from all the CDs are here too. Acquired in 2021.

2005 (first listen); 2/18/18; 1/27/26 (review)

Will be reviewing albums 3 through 5 in the coming weeks.

1/27/26 (new entry)

Locanda Delle Fate ~ Italy

Forse Le Lucciole Non Si Amano Più (1977)

---3/10/01

By 1977, progressive rock in Italy was all but dead. Most of the movement had moved either underground, or more towards the experimental (Pierrot Lunaire, Picchio dal Pozzo). It must’ve been quite the surprise for collectors of the day to see Locanda delle Fate appear on the horizon, with major label backing (Polydor) and the visual eye candy of the gorgeous gatefold fantasy cover. Generally considered the last hurrah for the great Italian music scene, Locanda Delle Fate appropriately provide the final benediction. A seven piece group, with a rather complete instrument lineup consisting of organ, Moog, flute, piano, vibraphone, clavinet, acoustic & electric guitar, bass, drums and vocals. In some ways, Locanda Delle Fate's album can be considered a move forward, an updated take on the classic sound. An argument could be made that the album is almost too slick – too many compromises for a more fidgety contemporary audience. In reality, Locanda Delle Fate were more subtle than their predecessors. It really takes many listens to peel the onion as it were. For those weaned on the musical acrobatics of Semiramis or Il Balletto di Bronzo, Locanda Delle Fate can quickly be waved off as lightweight and simple. This would be a poor assumption to make. Perhaps this is why Locanda Delle Fate took longer to surface than other bands of their ilk: All of the lessons learned from observing the last seven years.

The opener, 'A Volte un Istante di Quiete', is a brilliant instrumental with active rhythms and flute leading the melody parade. The next piece (the title track), demonstrates why Locanda delle Fate needs more time for evaluation. The music here is almost pop-chart-commercial except there is much more complexity brought forth. It's a testament to the savvy of Locanda Delle Fate to harbor this kind of intelligent composition style, while not being show-offy in the slightest. Each of these apparent chartmakers contain outstanding instrumental sections that focus on the ensemble rather than the solo. What stands out most about Locanda delle Fate are the memorable melodies all within the context of the overall complex instrumental work. While all the instrumentalists are fantastic, special mention goes to flautist Erio Vevey who typically owns the melody line. Track highlights include 'Sogno di Estunno' which is Locanda Delle Fate at their most aggressive and 'Vendesi Saggezza', the stunningly beautiful closer.

---2/2/26

I had completely forgotten that I'd written a full review 25 years ago, until searching my hard drive for previous listens. And, as it turns out, that was the last instance that I heard the album! It's about time the random number generator picked it then. So the album makes it's long awaited debut on UMR. Let's see how I hear the album today.  

Perhaps no surprise, but I hear it better than ever. There's an Italian romanticism the group captures that is very much of the 70s era, and one I adopted for myself in the late 80s and early 90s. Strangely I have a sense of sadness surrounding it, as the optimism of youth is now replaced with nostalgia and reflection. Albums like this bring those emotions out. I called out the highlights on my original review, though there truly are no weak moments here. B1 is Locanda Delle Fate at their most commercial and yet even here they add plenty of complexity. B3 is as beautiful as the closer. 

Reading today that many have issues with the vocals. Once again, he was of the era, a gruffer voice that was prevalent in many Italian prog groups. Like Odissea, Delirium, or a more controlled Jumbo. To be honest I didn't really take to this album much in 1990 either, thinking it wasn't "progressive enough". Haha, such is the quick judgment of a young mind. It's plenty progressive, but it is more subtle in its approach. Something I clearly understood by the time I did get around to writing my review.

The CD includes their 1978 single 'New York' / 'Nove Lune'. Italy seemed to be obsessed with The Big Apple in the 70s, perhaps not overly surprising given many of their families had relocated there over the last century. As to be expected, Locanda Delle Fate is attempting to find a more commercial stance on this 45. The A) side is too singy-songy-whiny for my tastes. The B) side picks up the pace, and adds back in some progressive rock complexity. They still had it in them, and a full album like this would have resulted in another heralded classic. But that was an impossible ask for 1978 Italy. It was over.

Ownership:
1977 Polydor (LP). Gatefold. With lyric inner bag. Acquired in 2003.

1982 Polydor Japan (LP). Gatefold. With Italian lyric and Japanese insert. Acquired in 1999.

2001 Polydor Japan (CD). Papersleeve gatefold. With lyric inner bag and insert. Acquired in 2003.

First copy and since sold: 1988 Polydor Japan (CD). Acquired in 1990. These Japanese CDs were hard to find back then!

1990 (first listen); 3/10/01 (review); 2/2/26 (update)

The band reformed in the 90s but I don't have any of their other albums in my possession.

2/2/26 (new entry)

Jukka Gustavson ~ Finland

...Jaloa Ylpeyttä Yletän....Ylevää Nöyryyttä Nousen (1978)

Back into the newly acquired collection. I'd heard this album once before but never owned a physical copy. Let's see how it goes this time.

As with Vortex's second album that I recently revisited, Jukka Gustavson's solo debut (technically released as Jukka Gustavson's Alone Together Orchestra) could be described as orchestrated jazz. Though in this case there isn't that avant prog vibe, more towards pure jazz fusion. Elements of Soft Machine appear throughout. There's a cast of thousands here, and only Gustavson's keyboard are allowed to dominate in any one place. Organ is still his preferred instrument, giving it more of an early to mid 70s sound. Reeds also play a major role here. The album is broken into 13 all-instrumental pieces representing one suite across both sides. The central theme is based around Christian principles and the lavish booklet includes many Biblical quotes.

This was only the beginning for the former Wigwam keyboardist. He continues to record to this day. I haven't heard any of them, but certainly wouldn't deny the chance to do so.

Ownership: 1978 Love (LP). With booklet as noted above. Acquired in 2026.

5/8/12 (first listen); 1/29/26 (review)

1/29/26 (new entry)

Rare Earth ~ USA ~ Detroit, Michigan

In Concert (1971)

If there's an album that proves my theory about Rare Earth never letting loose, it's In Concert. When finding this CD I had hoped that perhaps in a live setting, Rare Earth would bring a new level of intensity. Sadly they do not. I'd submit they are of a lower energy than the studio versions. They proved this point the most on 'I Know I'm Losing You', a track that should send chills up the spine. 

Not to say they sleep walked through these tracks either, just that they did not bring the oomph they need. One only has to listen to Judas Priest's Unleashed in the East to know what a kinetic live album can add to studio recordings.

Though In Concert remains their highest rated album (according to RYM), I'm not convinced it achieves the high marks. I would think the only reason to seek this out is for the near 11 minute jam 'Thoughts' which I believe is the only place the track exists.

Source: Motown (CD)

1/28/26 (review)
 

One World (1971)

The big hit here is 'I Just Want to Celebrate' which is definitely the best song on the album for my tastes. This is a good album but somewhat "generic Rare Earth" sounding. They were to rebound nicely on Ma, but this title is a bit mundane. 

Source: 1971 Rare Earth (LP)

9/11/24 (notes)

Ma (1973)

Another solid hard rock funk album from Rare Earth who seem to specialize in heavy psych covers of soul classics. B3 is a killer, one of their best ever. B4 is oddly erotic but a very good track and a different direction for the group. I can do without B2. The side long track is like a lot of the Rare Earth catalog - always on the cusp of something big, and yet they hold back. They never really did let loose for that one psychotic Krautrock styled freakout. I'll keep this one.

Ownership: 1973 Rare Earth (LP). Acquired in 2024.

6/13/24 (review) 

Ecology (1970)

---5/9/22

OK, this is the Rare Earth album I've been looking for. Non stop kickass hard rock and organ. My copy is trashed (like all the ones I've seen), so I'll need to upgrade before commenting more. The only reason I have this copy at all is that I took a chance on one of those Goodwill auctions. It was predictably not a great experience. Fortunately the two records I thought I could resell turned out pretty good and will more than pay for the lot. But I'm not doing that again. I had to throw away the Eagles' Hotel California album it was in such bad shape. Goodwill sucks really. 

---5/19/23

So that day has finally come. There was an interim copy with the cover in shrink, but the vinyl once again barely made the VG level. I finally found a German copy, itself visually a VG, but it plays much better. So let's analyze the album a bit further.

In a lot of ways Rare Earth reminds me of Iron Butterfly. Not so much in sound, but lost opportunity. While both of these bands reached their peak long before my time, any kind of historical study will show that they were both huge in their day and highly influential. Motown named a sublabel after Rare Earth, as but one example. Had they been based in Europe they likely would have had more creative freedom, but the major labels here were laser focused on the next hit, and it appears that both of these legendary bands were all too willing to play ball. Bad for their legacy, and ultimately bad for their pocketbook. Rare Earth arguably fared better with their most known song coming one year later in 'I Just Want to Celebrate'.

While the previous Get Ready had a side long track, it's here on Ecology where the band experiments the most. And the one track where that really becomes apparent is a cover of The Temptations' '(I Know) I'm Losing You'. Everything about it is so perfect, yet it feels like it should be so much more. It's on the verge of psychotic madness but holds back just enough to keep within sane levels. It's use of quiet space inside the proposed boundaries is brilliant. And while it does have some wicked guitar, one wishes for it to have gone off the rails while the impassioned vocals are being echoed throughout the halls. The whole album maintains this feel that they're holding back something special, yet it's still an excellent album. It should have been a masterpiece though. For 1970 America, Ecology was considerably ahead of its time. If only Del Jones had walked in and had some influence. Hoo-boy, wouldn't have that been something? Today dogeared copies of Rare Earth albums sit unwanted in dollar bins, awaiting their ultimate fate to the trashcan. A mere historical footnote in the annals of rock music.

Ownership: 1970 Rare Earth Germany (LP). Acquired in 2023.

5/9/22 (first acquired / notes); 5/19/23 (review)

Get Ready (1969) 

Here is Rare Earth's breakthrough 1969 release. Like with Iron Butterfly, Rare Earth were a band that was positioned for a long great career, only to let it slip through their hands. Similarly their albums are relatively easy to find, and demand remains light. All the same, they are to hard to find in nice condition, as they are usually partied out by now. And taking the comparison further, one could look at Get Ready as Detroit's response to Southern California's In-a-Gadda-da-Vida. Some rockin' tracks on Side 1 followed by a near 22 minute opus on the flip. It's more direct than the oftentimes esoteric Iron Butterfly, but that speaks to the region itself. This isn't my first go round with Get Ready, an album I first picked up back in the late 80s. I thought it was OK, but it should have been better, and moved it out. Some 40 years later, and I still agree with my original assessment. The songwriting is a little light, and the cover tracks aren't particularly compelling. But it's also hard not to appreciate the excellent fuzz guitar throughout. I'm appreciating Get Ready more today than prior, but it isn't near the level - or as influential - as Iron Butterfly's masterwork.

Ownership: Motown (CD). 90s issue. Acquired in 2023.

1989 (first acquired); 5/12/21 (review); 6/23/23 (update)

5/19/23 (new entry)

Stone Garden ~ USA ~ Idaho

Stone Garden (1969 / 1998)

Hard to imagine that Idaho was home to any heavy psych bands from the late 60s and early 70s, much less two. Though unlike Salem Mass, Stone Garden did not release their material real time, despite having a production grade recording under their belts. It wasn't until 1998 that Rockadelic unearthed the tapes and released it on LP, and was later issued on CD by Gear Fab. Other issues followed. They did, however, manage to put out one incredibly obscure 45 prior to these recordings.

The album starts with a Blue Cheer styled heavy psych piece, and largely defines the album as a whole. But there are many diversions including the jazzy 5) and some early progressive rock ideas (tracks 4; 8). The only skip over is 9), which is a silly novelty country influenced number. A fantastic archival find overall.

All of the issues include the original 45, which is considerably lesser than the archival material. This is noted in the booklet since the latter was professionally recorded. The opening track is the B) side of the single, and closes this CD. It's definitely the highlight, though the guitars are way less amplified and there's incongruous saxophone, which comes out of nowhere. The A) side is pretty much straight blues, though it does have a very nice psych tinged solo.

Ownership: 2002 Gear Fab (CD). Booklet with full history and both 45 cuts. Acquired in 2014.

5/10/07 (first listen); 2/28/14; 1/27/26 (review / new entry)

Blue Knights ~ Germany

Blue Night (1992)

Long ago I had made the decision to buy everything I see on the Innovative Communications label, whether on CD or LP. Klaus Schulze had founded the label, and originally it featured artists that followed in his footsteps. Long after he'd sold out (1983), IC went in many directions.

Blue Knights are an offshoot of Dancing Fantasy. Both collectives have a lot of albums, and this is the first one I've heard from either, which happens to be the debut. Both Discogs and RYM curiously label the album as Smooth Jazz or Jazz Fusion. It is neither. When hearing it I was thinking of a very popular artist from the mid 90s. This morning, with the help of AI, I remembered who it was: Swiss artist Robert Miles and his big hit 'Children'. I know within the world of electronica there are dissections to the nth degree on what bucket each musician belongs to. Dream Trance, Progressive House, Eurodance, or whatever blablabla, are much closer in spirit to Blue Knights than Smooth Jazz or Fusion. Kenny G or Weather Report would be the furthest thing on your mind when hearing this.

The primary driver here is the sound of the piano (which is why I thought of Robert Miles). The melodies are simple, yet beautiful. The electronics set the atmosphere perfectly, and yes of course, boom boom boom. It's at the border of dance and chill. I tag them all with the generic term "electronica" for easy reference. The album peaks on the sequence between tracks 8 and 10. Other highlights include 2, 3, and 5. The last track provides a perfect closer.

Perhaps the most surprising aspect of this album, to me at least, is the date. I associate music like this with the end of the 90s, not the beginning. Though I'm sure much of that has to do with my own ignorance of these genres in general. And since the 90s was the great trajectory of my life, the background music of the decade always resonates positively here. Not surprisingly, the CD's theme as noted in the booklet, revolves around high fashion. Such a frivolous decade really. I miss it.

While I wouldn't bother to mail order any of these, I will continue to seek them out in the thrifts or record shop's budget bins. How much of these will I ultimately keep? Not sure, but since that part of my collection still has open space, CDs like this slide in easily.

Ownership: 1992 Innovative Communications (CD). Booklet with fashion / model photos and a narrative about the album. Acquired in 2026.

1/23/26 (review)

1/23/26 (new entry)

Albert Marcoeur ~ France

Albert Marcoeur (1974)

I had originally thought to put these in the journals, but what the heck, I'll make a post. This collection has the first four LPs from Monsieur Marcouer, of which I'd heard three of them in my past. And I owned this title on LP, surprisingly enough. During my "intellectual 20s" I guess, not that I was any kind of raving scholar. Maybe the guy who cleaned the chalkboard late at night.

Generally known as the French Frank Zappa, Marcoeur's music is largely unclassifiable. And, at times, unlistenable. I'm all for creativity, but you know, a melody doesn't hurt every once in a while. Even Frank understood that, especially on an album like Hot Rats. Expect a completely random listen here with lots of "fou" / "folle" all in French, of course. He's doing his own thing, so have to admire that. And that's about as far as I go in my praise.

Perhaps the most surprising aspect of this album is that it was released on a major label. Of course it was in France, and goodness knows, innovative art ruled supreme there in those days. Sometimes you win, sometimes you don't.

Source: 1974 Atlantic (LP). Gatefold.

1/23/26 (review)

I have his next three albums to go. I'm determined to listen to them all the way through (and maybe more as I'm doing with the debut). I'll space out the listens for certain. Not sure I'll have as much narrative though. We shall see.

1/23/26 (new entry)

Camel ~ England

The Single Factor (1982)

Another one of those albums I could have sworn I wrote about, but guess not. It was only 7 years ago I found a copy in my early days of thrifting around town. Didn't hear any redeeming qualities and off it went.

This was part of the newly acquired collection, and a super nice copy at that. So let's get some virtual pen to paper here. Most certainly the title of this album is what you would call a clue. Those first two tracks are nothing more than radio bait. When I think of Camel, I think of quality songwriting. So, honestly, they probably should have made a dent in the corporate FM scene. Perhaps they were too far into their career to have any mojo left by 1982. The third song begins to show their progressive past, but in an Alan Parsons Project way. Since the vocalist is none other than David Paton, then that should prove to be no surprise. This is followed by a mellow and soothing instrumental. Andy Latimer definitely adds some soul to his guitar playing. This side closes with the even more mellow only-on-the-right-speaker 'Lullabye'. Side two starts off promisingly with another instrumental, more upbeat this time with fine keyboards from Peter Bardens (oh, there you are). B2 is arguably the heaviest track here, and even Mr. Mellow himself, Anthony Phillips, is participating on keyboards. After this, they ran out of ideas and threw in two pop rock hopefuls. B4 is pretty bad honestly. They close side 2 in a soft manner similar to the flip.

The Single Factor did indeed prove to be better than my initial impression. Though not even close to shelf space I'm afraid.

Source: 1982 Passport (LP). Lyric inner bag that also informs us that drummer Andy Ward does not appear because of a serious injury to his hand (though that was obfuscating the truth).

8/2/19; 1/23/26 (review)
 

A Live Record (1978)

I hadn't heard this prior, and rarely these days do I have the patience to sit through two albums worth of live material that I'm largely already familiar with. A Live Record passed the key test: Is it unique enough from the studio versions for repeat visits? And I'd submit yes it is. Solid representation from their five previous studio albums, with one album dedicated to The Snow Goose suite.

Ownership: 1978 Decca Europe (2xLP). Gatefold. Acquired in 2024.

6/24/24 (review)

Rain Dances (1977)

Rain Dances, Camel's 5th album, is where Camel wandered over the line from all-in progressive rock to that of AOR / FM music. Well sort of. They could be considered what is now known as Yacht Rock, or even more to the point, Yacht Prog. So yes, you can place Camel now in the company of Fruupp, Kestrel, Sebastian Hardie, and the rest of them. Latimer gives the game away on the back cover, though they are a bit scruffy to allow on the boat it would seem. Maybe they can work in the steam room?

If we're honest, Camel had always leaned in to the melodic side of the house. Herky-jerky rhythms and impossible compositions were never their forte. They just mastered their craft better here. And I have to think Latimer spent a little time digesting some of Santana's guitar licks before heading into the studio. Adding Canterbury stalwart Richard Sinclair was the right move at the right time. One of the few British singers who actually sounds like he lives there, his soothing tone is perfect for the soundscapes Camel are painting. There are a couple of overt plays for radio that didn't really stick (I can't recall ever hearing Camel on the radio growing up in the late 70s), but they aren't soaked in saccharine pathetic whining, like so many of their peers were prone to do. They were to dive deeper into these waters on the also excellent Breathless, but even more brazenly commercial than here. The deal is, Camel were just damned good songwriters and musicians, so they were able to pull it off. I'd submit much better than Genesis did, though the latter clearly captured the corporate market far better. There's no accounting for good taste, now is there?

Ownership: Deram (CD). With historical retrospective and one single edit bonus track. Acquired in 1996.

1996 (first listen); 2004; 6/14/20; 3/9/24 (review)

Mirage (1974)

The other day I was talking with local collector and friend Dr. Boom about Camel, and he indicated that he wasn't too enamored with them. "Too lightweight for me" he opined. That's unfortunately a common perception and criticism that Camel gets tagged with. Even for myself, when I think about Camel, it does occur to me they are on the softer end of the progressive rock spectrum. But are they really? I think Snow Goose and their later works adds to this notion. My introduction to Camel was via this LP, and thank goodness for that. For me it's a foundational album to my overall appreciation of music. I suggested to him that he at least revisit Mirage. Especially side 2. I think you'll walk away with a different experience. We'll see if he takes me up on that suggestion.

For my tastes, Mirage is in my Top 50, and maybe even Top 25. 'Supertwister' seems to represent half of my late 70s and early 80s instrumental Continental European prog collection, such was the impact it had on a global scale. Though, in retrospect, it would appear they were influenced here by none other than Tonton Macoute. This track is not from the Jethro Tull school of flute driven prog. As noted prior, all of Side 2 is a barnburner. 'Lady Fantasy' is absolutely bonkers, and closes the album with the stereo in flames. Nothing lightweight about Camel here.

Ownership: 

1974 Janus (LP). This is one of the very rare times where I prefer the US artwork to the European original when they are different. Acquired in 1984.

1974 Deram UK (LP). Acquired in 2015.

2002 Deram UK (CD) With liner notes and four live bonus cuts that total ~29 minutes. Acquired in 2002.

1984 (first listen); 2002; 1//05; 6/23/06; 1/15/14; 1/19/24 (review)

Breathless (1978)

Continuing the transition found on Rain Dances, Breathless is even more geared toward a commercial sound. In retrospect though, there's plenty of thoughtful progressions within the tight confines of their pop songs. Vestiges of their progressive rock past can be found here as well, in particular 'The Sleeper'. 'Summer Lightning' sounds like an updated and disco'd up 'Winter Wine' from Caravan's classic In the Land of Grey and Pink. Of course, now having Richard Sinclair on board has a lot to do with that perception. 

Ownership: 1978 London Japan (LP). With giant poster. Acquired in 2020.

1984 (first listen); 12/10/20 (review) 

Other albums I own and need to review: Camel (1973); The Snow Goose; Moonmadness; I Can See Your House From Here; Nude

1/6/23 (new entry)

Debile Menthol ~ Switzerland

Battre Campagne (1984)

Quickly back to Debile Menthol. I already traded the below copy to a local collector (who loved it immediately), and he was also interested in this one. So I moved it to the front of the stack for a listen. Battre Campagne is the title I owned long ago (before 2004 at the very least). Well, no surprises here, the music is mostly lost on me. Combine what I said below, add some Devo, and perhaps some Looney Tunes while at it. One cannot accuse Debile Menthol of selling out here. If anything, they really upped the ante on just about everything. Surprised to see this as the lower rated of the two, given its dedication and focus of the style.

Source: 1984 RecRec (LP). Includes insert with lyrics and recording details.

1/22/26 (review)
 

Emile Au Jardin Patrologique (1983)

The newly acquired LP collection included many imports of (what we now call) avant prog. A beautiful selection honestly. Though much of it will find their way into other collections when it's all said and done. As you might know, if you've read this blog long enough, the genre isn't a favorite of mine. I do, however, understand the allure of it. Highly composed, often zany, usually happy, and somewhat random in its approach. Which if I read my own description, sounds pretty darn good. I tend to champion melody, grooves, atmosphere, intensity, solos, and riffs. And on that front, avant prog is something of the polar opposite. 

Most of these albums - I suspect - will find themselves in my prog journals. But I wanted to at least put one group out there, as who knows when the journals will be published. So I wanted to provide context as I plow through this collection. Because most of what I held back to listen to will likely be in this vein. I already own the Italian and English prog stuff, and much of his fusion albums as well (though there are a lot of those I'm also looking forward to diving into).

I thought I'd owned both Debile Menthol albums in the past, but it turns out it was only the second one. Which is also here, and I will update this post when I get to it. While hearing Debile Menthol's debut, I found myself distracted and irritated often. Whether I was focused on each note of the recording, or busy reading something else, the music could be described as a "great interrupter". All the same, there is an intellectual side of me that really wants to love this stuff. In my 20s, I was that person. I had many albums such as this as late as the mid 1990s (when I turned 30). I let academia sometimes override emotion. Which is smart in finance and business, and I still maintain that philosophy for those. But for appreciating music? No, that has to come from the heart and soul. So while my brain was having fun distilling the crazy notes and meters, my heart was looking for something else to do that I enjoy. 

So we'll leave it there. I know (or hope) there will be a few that I will sing the praises of. Others will find their way into the Debile Menthol category. But I'm sure it will find its way into the hands of a serious collector eventually.

Source: 1983 RecRec (LP). Includes insert with recording details.

1/20/26 (review)

1/20/26 (new entry)

Passport ~ Germany

Doldinger Jubilee '75 (1975)

We were recently in Tulsa, Oklahoma, on our way back home from acquiring the collection in the Southeast. I arm-twisted Mrs. UMR in allowing me to dig at one record store for about 20 minutes. There were no obvious great deals, or anything that I really wanted, so what I usually do in that situation is pick up at least something. I like to support the stores, but not spend too much if I don't have to. So I walked out with one good classical album - and this, priced properly at 3 bucks. I've never heard it, so why not see if it's collection worthy. That lineup is solid, with Philip Catherine, Kristian Schultze, and Curt Cress leaping out to my eyes.  

The tunes are mostly culled from prior studio albums, with Les McCann's 'Compared To What' and Catherine's 'Angel Wings' added to the repertoire. My initial reaction was this is a very good concert, but a bit subdued. Doldinger has a sax tone that doesn't always resonate with me. Side 2, though, brings a high energy level, and suddenly Side 1 opened up in a similar manner. Wolfgang Schmid's bass work, in particular, is stellar. A2 and all of B are your highlights. Going to keep this one.

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

1/20/26 (review)  

Second Passport (1972)

Wasn't expecting Passport to be the source of my next +1 listen. But that's recently what happened as I was drawn in by the energetic, and at times, complex jazz rock brought forth by Klaus Doldinger's bunch. A2, A4, B2, and B3 are stellar. A3 is spacious and provocative. Meanwhile A1 and B1 appear to be more traditional but each breaks into their own serious jams. Saxophone and organ lead the solo parade. Superb album.

Ownership: 1972 Atlantic Germany (LP). Acquired in 2023.

11/18/15 (first listen); 4/15/23 (review)

Looking Thru (1973)

Looking Thru is the 4th album from Klaus Doldinger and Passport. It's also the only one I hadn't heard to date of the first six. And as 'Eternal Spiral' opens, I thought I may have missed out on the best one! Right from the start, Moog's, mellotrons, and energetic rhythms propel this most auspicious opening. And then... ...it's Passport. For the most part you get seven pleasant jazz fusion sax driven instrumentals. They're a professional band, and the quality of musicianship and production are high. 

My original assessment of the album (from the Japanese CD) was good, but inessential. A relisten last night confirms that it probably isn't essential but I still had a +1 listen. Most likely this stems from my recent interest in jazz funk, and I found the melodies more pleasing this go round.

Ownership: 1974 ATCO (LP). Acquired in 2022.

3/7/19 (review); 3/11/22 (update)

Also have heard Passport (1971); Hand Made; Cross-Collateral; Infinity Machine. Need to revisit all of them.

3/7/19 (new entry)

Hairy Chapter ~ Germany

Can't Get Through (1971)

---9/3/07 (excerpt)

Hairy Chapter’s Can’t Get Through, along with Haze, are albums I discovered too early in my record collecting career. I was fortunate to happen on these LPs in the 1980s, but the direct hard rock approach they both took was rather off-putting and I traded to other dealers not long after.

---1/20/26

Exactly that. I was still new at this whole buy-any-import-that-looks-cool stage. Summer of 1986 is when I found this album at the Dallas Record Show for around $5, if memory serves. But this just wasn't the sound I was looking for at that time. I liked metal and I liked cosmic Krautrock, but hard rock? Naw, that's too ordinary. That mentality changed somewhere in the 2000s I think, maybe a bit before. Certainly it had by 2007, on that random listen.

So what does Can't Get Through sound like anyway? Would you believe hard rock? Haha, of course it does. The extended guitar solos give it that Krautrock edge. Some Black Sabbath references as well. So it fits comfortably with many groups from Germany during this era like Haze, Blackwater Park, Night Sun, Epitaph, Silberbart, Spermull, Frame, Dschinn, etc... B2 provides the only break, and it's way out there actually. Like The Beatles on a bad trip.

As with Arco Iris' Agitor Lucens V, Can't Get Through has been on my want list for many years. In this case, I really wanted the original though (given my history), not a modern reissue. I managed to do one better than that copy I bought in the 80s, as this is the true first press, and I had originally stumbled onto the '72 pressing. Either one was fine with me, but cool all the same. It was an online purchase, and while not cheap, it was a good deal and accurately graded. Don't be afraid of VG vinyl from Germany, as they often sound much better than they look. And that's certainly the case here.

Ownership: 1971 Bacillus (LP). Gatefold. Acquired in 2026.

1986 (first listen); 9/3/07; 1/20/26 (review)

I also once owned Eyes on CD but it wasn't to my taste. I'll have to hear it again at some point.

1/20/26 (new entry)

Metallica ~ USA ~ San Francisco, California

Garage Inc. (1998)

It had been my intention to follow up the original Garage Days listen below with the 1998 updated album, as they're both on the same CD. I put it aside, then it got buried under other CDs, and finally forgotten altogether. Eventually managed to find it and put on a listening list, and here we are.

From the below I wrote: "I don't technically like cover tunes, as I see them as something of a novelty. But in the hands of Metallica it somehow seems different." At least that was the case in the 80s lol. Somewhere along the line, Metallica lost interest in thrash, and by the 90s they were more like a bluesy metal band. And their popularity, at least from a critical response perspective, also sank to the bottom as I also noted in the Hardwired review. Though financially, I seriously doubt they felt the pinch. They obviously don't care about their legacy, and so be it. They are a hell of a lot richer than their brethren, but less respected. So is Elon Musk. Each were once worshipped and now derided by many (and loved by others). Big deal, I'm sure they collectively feel.

If there was an album that afforded them a modicum of street cred in the 90s, it was Garage, Inc. Whereas the covers on the 1987 effort were well researched underground metal, here they are a bit more typical classic rock fare. Not sure I need to hear Metallica cover Bob Seger, Lynyrd Skynyrd, and Nick Cave. Black Sabbath and Thin Lizzy feel obligatory. Doing punk covers, while actually sounding like a punk band, is beneath them. 

So what does that leave? Yea, the 11 minute Mercyful Fate medley. A really great fit for classic era Metallica, and exactly the type of music they embraced a decade earlier. The other is the intriguing choice of 'Astronomy'. Proggy Blue Oyster Cult meets Metallica? Funny to hear Hetfield try to actually sing. I think it's hard to replicate the atmosphere without the piano, but they did an admirable arrangement job here. Makes you wonder what they would have come up with if covering Yes or Genesis? Embarrassing or enlightening? Hey, I wouldn't underestimate them that much. 

I'll keep this CD in the "extra" category, primarily for the bonus tracks on Disc 2, which is mostly 80s material.

Ownership: 1998 Elektra (2xCD) with Garage Days Re-Revisited. Booklet with extensive liner notes and photos. Plus many bonus. Acquired in 2025.

1/19/26 (review)
 

Garage Days Re-Revisited (1987)

After reading the below, it should come as no surprise I bought this EP on Day 1. I don't technically like cover tunes, as I see them as something of a novelty. But in the hands of Metallica it somehow seems different. They make great songs even better, especially in their 80s heyday. And their choices of songs proves once again that they were quite well versed in metal history. Choosing bands like Diamond Head, Budgie, and Holocaust was next level research for 1987. This was the album that introduced bassist Jason Newsted, and a key transitional moment that Metallica wasn't going to give up after Cliff Burton's untimely accidental death. Another one of those albums I have no documentation of hearing since purchase, though once again I know that's not accurate. 

While I'm here I should cover off on the extended 1984 Garage Days Revisited single that includes the devasting 'Am I Evil?' from Diamond Head plus the excellent NWOBHM Blitzkrieg track.

Ownership:

1987 Elektra (EP). Acquired in 1987.

1998 Elektra (2xCD) on Garage, Inc: Disc 2 - Tracks 1-5 (6-7). Acquired in 2025.

8//87 (first listen); 7/29/25 (review) 

Kill 'em All (1983)

It all starts here. This album. The one that put thrash metal on the map, and perhaps was the jet fuel the entire heavy metal genre needed to survive for the ages. As I noted on Accept's Restless and Wild, they lit the match. Metallica took that fire to the torch and scorched the earth with it.

For me personally I was looking for a sound. I didn't know what it was, but I needed a place to burn some pent up energy, both mind and body. By 1983, I was a huge fan of Iron Maiden, Judas Priest, Saxon, the aforementioned Accept album and a few others. Iron Maiden was the closest to what I was seeking, but they weren't ever really that heavy to be honest. But they had the right idea compositionally with 'Phantom of the Opera', 'Hallowed Be Thy Name', 'To Tame a Land', and many others. According to RYM, Kill 'em All was released on July 25, 1983. That ties to my memory as well. It wasn't until August that I purchased my copy (which I still own) after reading about it in Kerrang. The timing is important because it was only a couple of weeks before I entered college. One of those identity defining moments at a key time in life.

I remember hearing the album for the first time and my reaction to it. 'Hit the Lights' was a perfect opener. A lot of albums back then had a perfect opener. But would it sustain? Then came 'Four Horseman'. And there it was - that was the sound I was looking for! The riffs, the production, the meter changes, everything about it was so perfect. ...And it never let up from there. The album was relentless in its pursuit of heaviness with a bit of brainpower. Some of their best tracks can be found here (including the two openers), especially 'No Remorse', 'Whiplash', 'Jump in the Fire', and 'Seek & Destroy'. 

They were to improve dramatically on their next two albums in the areas of songwriting, technique (including vocals), lyrics, and production heaviness. And yet Kill 'em All was already miles ahead of any perceived competition.

As I stated - it was an album that shaped an identity. As noted here a few times, I attended Texas Tech. That school is in Lubbock, in the middle of hardcore West Texas. Country music ruled supreme and many young cowboys from the area went to school there. I had nothing in common with any of them. I was a city kid from Dallas. There were a few of us like that. It would be three months before I even met someone who knew who Metallica was. Instant friendships were bonded in that way. Long haired, torn denim, tennis shoes wearing metal heads in the world of clean cut cowboys complete with hat and boots. The only downside was that all the pretty girls (and there were many of them!) liked the cowboys. Sigh. 

I acquired this album not long after release at a mall record store as noted above. Funny to think about that too. At a mall store... Probably right next to Men at Work's Cargo.

A true story: One early afternoon after class, I needed to burn off some energy (common theme apparently), and was jamming to 'Whiplash'. Two of my dorm mates were walking down the hall. Imagine 6' 4" tall cowboys, tight jeans, boots, and black hats - walking in lockstep. They saunter past my door. They stop and look backwards into my room and ask in a western twang:

 "What the hell is that sh*t?". 

"It's Metallica, dude" 

"What?" 

"Metallica".

"Well that sh*t SUCKS. Keep it down!"

Ownership: 

1983 Megaforce (LP). Lyric inner bag. Acquired in 1983.

Vertigo Argentina (CD). Two hidden bonus tracks taken from the 'Creeping Death' EP: 'Am I Evil?' and 'Blitzkrieg'. Acquired in 2019.

2010 Vertigo Japan (CD). Papersleeve. Acquired in 2015.

8//83 (first listen); 1//04; 8/8/15; 8/8/24 (review)

Hardwired... To Self-Destruct (2016)

I got this in a bulk metal buy about four years ago. Just now getting to it. No time like the present. There's so much I could say about Metallica, having purchased Kill 'em All not long after being first released (see above). They were so far ahead of the pack in the 1980s, the whole world was scrambling to catch up. And still couldn't keep up. Their last innovative offering was And Justice For All, way back in 1988. Metallica knew that it would have been impossible to stay on top of emerging trends, so they pivoted to a completely new sound. I dropped out at that time as well. Their 1991 album tends to get a pass today (an album I didn't appreciate until recently myself). And everything else they've released since then comes with a cargo ship full of hate mail. If I were to write a fast thesis, it would be interesting to note the fan trajectory of a peer like Iron Maiden, who today is as highly admired as ever before. Which gets us to Hardwired, an album that I should be saying is their latest, but I piddled long enough for them to sneak a new album in. That new album is taking the same poisoned arrows as anything else they're released since the 80s. I liked Death Magnetic (2008), their first album to consider their own legacy. I couldn't tell you much about it, but I do own the CD. But my guess is I'm holding onto to that for the same reason I'm holding on to this. It's probably temporary in any case for both. So what about the music of Hardwired? It's very good actually. Not extraordinary. No chance taking, no ten minute tracks about Celts and Samurai warriors like Iron Maiden is doing (to mixed reviews, but consider me a huge fan of Iron Maiden continuing to push the envelope). Rather Metallica cusses like a 14 year old juvenile delinquent and isn't even that heavy by today's standards. And they were the trailblazers of the modern metal sound. Nothing was as heavy as Master of Puppets in 1986. But Hardwired is almost like juiced up hard rock. They give you one full disc of music on two, and within all those minutes there is some good stuff. But no heart racers as they did in their youth. In the end, the band has nothing to be ashamed of on Hardwired, but they really gave away their place in history long ago. But those first four albums... Wow. (Jun)

Ownership: 2016 Blackened (2xCD). Triple FOC. Acquired in 2023.

6/30/23 (review)

Master of Puppets (1986)

Presumably I don't need to review this album so you can know how it sounds. But what I can tell you is my own story. I was a junior in college when this was released (and purchased on LP - the copy referenced below in fact), and was probably the most anticipated release I can think of... ever. I had already bought their first two albums immediately upon release, and was subsequently blown away by each. That did not happen here. Make no mistake - my rating in 1986 would have been 4.5 stars had RYM existed then. In fact my opinion of this album has remained unchanged in 32 years of hearing it. I love every minute of it. And yet I couldn't help thinking it was a slight disappointment at the time, and even now. Why would I say such a thing about a universally acclaimed masterpiece? Well... think about the debut and then the follow up. Both were mind numbingly creative for their time. Master of Puppets was more or less a repeat of Ride the Lightning - more perfected sure, and objectively better. But subjectively perhaps not. Gone was the raw creativity, and in was the pure professionalism of it all. From here, Metallica continued in a similar manner - to the point of losing focus altogether. So Master of Puppets was the beginning of the end, though it didn't seem that way at the time. Yes, of course, it deserves all the accolades it gets and I'm one of those positive voters. 

Ownership: 

1986 Elektra (LP). Acquired in 1986.

2006 Vertigo Japan (CD) Papersleeve. Acquired in 2015.

3//86 (first listen); 8/13/15; 7/30/18 (review)

Ride the Lightning (1984)

To truly appreciate Metallica, I think it's important to understand the history. When Metallica debuted with Kill 'Em All, they had rewritten the rules of metal as we knew them. There just simply wasn't any band playing that heavy, that fast, and that clear in those days. Sure it was a bit simple minded, and the lyrics were a little on the bonehead side, but still the album had most young males heart racing faster than Secretariat at the Derby. It was an exciting beginning, and Metallica could've stayed with this style and been heralded as a pioneer much in the same way we view Motorhead and Iron Maiden.

Then came Ride the Lightning. Metallica still hadn't ironed out all of their contractual deals with Elektra, and I happened to be in London at the time of its initial release. Their UK deal was with the relatively minor underground label Music For Nations, and I just couldn't wait and bought the album at HMV. And dragged it with me for another two weeks. It's a decision I never regretted (and still have my well worn LP copy, that will stay with me until the end).

The album opens with 'Fight Fire With Fire', and that track still gets my adrenaline up. James Hetfield's vocals, as Xavier Russell hilariously noted in Kerrang at the time, was more like "Fight Vodka With Bourbon". It's been almost 25 years since Ride the Lightning came out, and tens of thousands of metal albums have copied every note of this album, with better production techniques and STILL I'm blown away by this cut. Consider that there was a time when I would hear this song almost every day! This is followed by the title track, an awesomely mid paced super heavy song, that is as melodic as it is pulverizing. And so it goes through the remainder of the album. One big jaw dropping event. Especially for 1984. The band had improved exponentially on an already impressive debut. The songwriting has an almost progressive rock quality to it. And the band made a conscious decision to take an intellectual Iron Maiden approach to the lyrics. So instead of metal armies, banging that head that doesn't bang, and other testosterone fueled brainlessness, Metallica opted to sing about the ethics of capital punishment, cryogenics, the anguish of contemplating suicide, the Egyptians perspective of Passover, and musical interpretations of Ernest Hemingway and H.P. Lovecraft. WHAT? How could any one band rewrite the rules so fast?

In effect, Ride the Lightning was so far ahead of the curve it would take years for anyone to catch up. One can argue that Master of Puppets is a stronger album, as it took the Ride the Lightning concept and improved on it. But it seemed a little more clinical and less of the moment. By ...And Justice For All, Metallica were reaching for even more creative ideas. But it wasn't right. Their heart wasn't what would later be called a progressive metal group. It was a bit too wooden for their own good, though still a fine album. And their playing of 'One' at the Grammy's was a watershed moment for heavy metal overall. From here they lost their way to the hardcore original fans... and for many others they were just about to be introduced to a more radio friendly Metallica. But back to 1984, Ride the Lightning has to be considered one of the most revolutionary albums ever made.

Ownership: 

1984 Music For Nations (LP). Acquired in 1984.

2010 Vertigo Japan (CD). Papersleeve. Acquired in 2015.

8/17/84 (first listen); 6/25/09 (review); 8/10/15

Other albums I own and need to review: And Justice For All; The Black Album; Death Magnetic

6/25/09 (new entry)