Kansas ~ USA ~ Topeka, Kansas

Kansas (1974)

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

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

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

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

Masque (1975)

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

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

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

Song for America (1975)

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

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

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

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

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

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

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

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

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

Drastic Measures (1983)

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

Source: 1983 CBS Associated (LP)

5/7/25 (review)

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

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

9/22/25 (new entry)

Allan Holdsworth ~ England

Metal Fatigue (1985)

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

Source: 1985 Enigma (LP)

8/13/26 (review)   

Velvet Darkness (1976)

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

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

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

6/7/24 (review)

Atavachron (1986)

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

Source: 1986 Enigma (LP)

7/14/23 (review)

Also own: I.O.U.

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

7/14/23 (new entry)

Saxon ~ England

Power & The Glory (1983)

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

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

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

11/26/13; 8/12/26 (review)
 

Saxon (1979)

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

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

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

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

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

1982; 5/25/26 (review)  

Unleash the Beast (1997)

I was an early adopter to Saxon, having bought their quirky debut album, followed by Wheels of Steel, Strong Arm of the Law, and Denim and Leather. And that was it for me. Didn't even follow the band out of high school. It was only within the last seven years that I completed their early 80s classic run with a purchase of Power & The Glory (LP). What they did after that, I really don't know. I've certainly read a lot. It's apparent that Saxon made a go at "capturing" the US market, to no avail (as to be expected). And at some point in the mid 90s, got back on their (iron) horse and went about making music in their former early 80s NWOBHM style, but updated to modern heavy standards.

From my perspective, one of the issues that plagues Saxon is their image and moniker. If one didn't know better (and I didn't at first either), you'd think Saxon to be a band similar to Manilla Road, capturing the ethos of Medieval times, and creating mysterious semi-progressive heavy metal. Nope. Saxon are a biker band, through and through. A creative one, yes, but they're very much in your face metal. 

If Unleash the Beast (1997) is an example of what I can expect to hear going forward, then I'm in store for at least 11 more great albums! Band leader and lead singer Byff Byford is now 70 years old, and by all accounts, he hasn't lost a step. And right next him is his trusty aide and guitarist Paul Quinn, of which the same can be said. Right from the get of the title track, you'll know that Saxon are back from the grave, and packing heat! Every track here is classic NWOBHM music: Melodic, yet heavy riffing, with high quality guitar solos. Byford sounds like Byford, his distinctive higher pitched voice soaring peacefully (he's no screecher) over the racket underneath. Unleash the Beast is yet another pleasant surprise. Obviously I need to hang out more in the CD bins to see if I can find more of this! Interestingly enough, this is the only Saxon album I own - or have ever owned - on CD.

Ownership: 2007 SPV (CD). The hype sticker is hilarious: "Bonus Tracks, Unseen Photos, Liner Notes, Original Artwork, New Booklet!" OK, the last two are probably fair. Bonus tracks? Yes, there are two three minute live cuts. Liner notes? A very small paragraph written by Byford. Unseen photos? There's only one photo! lol. Acquired in 2021.

3/7/21 (review) 

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

3/7/21 (new entry)

Indestructible Noise Command ~ USA ~ Connecticut

Razorback (1987)

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

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

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

8/12/26 (review)

8/12/26 (new entry)

Wooden Shjips ~ USA ~ San Francisco, California

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

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

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

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

8/12/26 (review)

8/12/26 (new entry)

Genre ~ USA ~ Albuquerque, New Mexico

Commercial Success (1978)

---12/21/10

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

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

---8/11/26

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

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

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

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

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

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

8/12/26 (new entry)

Joe Farrell ~ USA

Outback (1972)

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

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

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

8/11/26 (review)   

Penny Arcade (1974)

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

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

10/14/22 (review)

Joe Farrell Quartet / Song Of The Wind (1970)

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

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

---6/1/26

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

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

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

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

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

Moon Germs (1973) 

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

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

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

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

Canned Funk (1975)

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

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

3/15/21 (review)

Upon This Rock (1974)

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

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

3/14/21 (review)

Also own: Benson & Farrell

10/14/22 (new entry)

High Tide ~ England

Sea Shanties (1969)

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

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

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

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

1988; 1996; 6/2/16; 8/7/26 (review)
 

High Tide (1970)

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

---5/22/26

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

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

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

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

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

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

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

Also own: Ancient Gates

Previously owned: The Reason of Success; The Flood

7/26/11 (new entry)

Procession ~ Italy

Frontiera (1972)

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

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

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

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

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

Also own: Fiaba

8/7/26 (new entry)

Santana ~ USA ~ San Francisco, California

One of the most influential guitarists in history, Carlos Santana assembled a high quality group of multicultural musicians. Coming from the Mission District of San Francisco, Santana was groundbreaking in many ways. But what really makes Carlos special is that he took his fame and fortune and made a go at high art. His "spiritual jazz rock" phase is nothing short of incredible, before settling back into corporate America. And mostly losing his way ever since. There's a religious metaphor in there I think. How ironic. More updates to come eventually.

Borboletta (1974)

---2007

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

---8/7/26

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

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

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

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

Carlos Santana & Buddy Miles - Live! (1972)

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

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

4/30/25 (review)

Welcome (1973)

Welcome is Santana's 5th album and was released smack dab in the middle of his spiritual jazz rock phase. Along with Caravanserai, Love Devotion & Surrender, and Lotus, it almost defies belief that a major "pop" artist such as Santana would achieve such great heights with decidedly non-commercial music. Which is the primary gripe of the naysayers even today. Intense guitar heavy jamming is not for everyone, and it's understandable that he lost a good portion of his primary audience. My view is the polar opposite. The older I get the more I appreciate Santana and other artists who followed his way. Welcome is not only a jam heavy guitar and organ extravaganza, but it also features some beautiful songwriting. I love the Leon Thomas sung songs, completely at odds with the rest of the album, yet fits the elevated spirituality that was Carlos Santana in 1973. There's the obvious great with tracks like 'Flame-Sky' and the title track. And then there's the beautiful great with 'Love, Devotion, & Surrender', 'When I Look Into Your Eyes', and 'Light of Life'. They are not mutually exclusive. Yet another Santana album that gets a +1. For whatever reason I didn't buy this album back in college with the rest of them. My mistake as it's one of their best. 

The CD features one more great song ('Mantra') that is not to be missed.

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

2//05; 2/16/25 (review)

Beyond Appearances (1985)

I find it interesting that Carlos Santana never let go of his iconic psychedelic sound. He really could have been the tip of the spear at any kind renaissance of high quality psych and fusion in the 1980s. But he decided to play ball and follow the trends of the day. So most of the songs are boring, with cringeworthy 80s digitalitis sounds. ...and Carlos' beautiful tone when it's his turn. Oh well, he continued to stick with this formula, and it finally paid off for him commercially about 15 years later. 

Source: 1985 Columbia (LP)

7/31/24 (review)

Santana (1969)

The birth of the movement. Latin Rock remains one of my favorite subgenres of music, and I owe a ton of gratitude to a one Carlos Santana. A fantastic guitar player who had the vision to meld Hispanic culture with the ongoing psychedelic and hard rock movements. His group and extended family spawned many imitators, some maybe even better than anything Santana released. While Carlos deserves heaps of praise, the X-factor in the group has to be Gregg Rolie. His soulful voice, songwriting ability, and Hammond organ work is at the highest levels. The juxtaposition of bluesy hard rock soul numbers like 'Shades of Time', 'Evil Ways', 'Persuasion', 'Treat', and 'You Just Don't Care' against the percussive Latin rockers 'Waiting', 'Savor', 'Jingo', and 'Soul Sacrifice' is what makes the debut so special. Rolie was to Carlos what Roman Bunka was to Christian Burchard (Embryo). Taking a great band to a timeless one. Even though I've known this album for well for 40 years, I still managed a +1 listen out of it. It now resides in the very top tier.

Ownership: 

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

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

1983; 6/13/16; 11/26/23 (review)

Festival (1977)

About a year ago I had a chance to revisit Moonflower to great results. Would I have a similar experience here? And the answer is a resounding yes. While it doesn't have a jaw dropper like 'Europa' (what does?), Festival is more consistent. The first three tracks are Santana at his absolute best, mixing in his purposely naïve view of the world with molten licks. And so it goes, with his usual mix of ethnic and harder rocking tracks. He pretty much let go of the funk that permeated Amigos. There are two tracks that are too Vegas-y for me 'Give Me Love' and 'The River', which still leaves 36 minutes of great music.

Ownership: 1977 Columbia (LP). Reacquired in 2021. First purchased in 1987.

1987; 8/9/21 (review)

Amigos (1976)

Funny about these albums sitting in the collection forever, that go back to childhood, and yet I couldn't tell you squat about it. I only kept the LP all these years because of 'Europa'. More on that one in a minute. What of the other six tracks, are they really that bad? No, not all actually. Well, save one.

'Dance Sister Dance' is a hybrid classic Santana Latin number with some creeping funk influence. The latter half of this song jams quite well. Which then segues nicely into the album's hidden gem 'Take Me With You', which sounds like early Santana ripping and roaring, until it puts the brakes on for a nice journey on The Love Boat. C'mon now, the girls are pretty and this is the perfect soundtrack. 'Let Me' isn't so bad really. Yes, it's got that Herbie Hancock Clavinet thing going and I could probably go without the "soul sista" chorus that were annoying even back then... and especially now. But Santana is there to lay down a killer lick or two, so it's OK.

'Gitano' is Amigos' contribution to Latin music. There are times when it seems it's about to take off into another killer jam, but it stays within the rails too much. 'Tell Me Are You Tired'. (OK, if you insist). This one is a bit too much funk pop for me, with more soul sista chorus, but not egregious on the whole.

This leads to 'Europa', which is just simply one of the most beautiful - and powerful - instrumentals ever committed to tape. Been hearing it for over 40 years, and I still get goosebumps throughout the entire song. Had it only been 20 minutes.... In any case this leads to...

'Let it Shine', the track that does everything in its power to desecrate the previous - that what was once holy and sacred. I mean I can deal with a little boogie woogie now and then, but seriously this is just plain awful. OK, let's just forget it ever happened. Nothing to see here.

And so with that - an album that is far better than I ever recalled. Glad I kept it.

Ownership: 1980s Columbia (LP). Acquired in 1989.

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

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

Previous owned: Inner Secrets; Marathon

9/21/18 (new entry)

Iron Maiden ~ England

A Matter Of Life And Death (2006)

As mentioned on The Final Frontier review, I feel like I'm hearing all of these "comeback" albums for the first time. Which is a good thing honestly. I won't rewrite the reviews below, as so many of my thoughts surrounding Iron Maiden have already been captured. More will come out from their 80s works (the ones I have yet to review) which are very special to me. These later works are all objective listens, and so I'll stick to that. Actually - one recent comment. A dear friend, who I grew up with and turned onto Maiden when we were in high school (1980), asked me recently if I was interested in seeing them play live. Nope, I said immediately. Want to preserve the memories and the time / place aspect. Don't need to see them now. No relevancy to my life as it stands today. Different era, different crowd. He agreed. But they were so important to us teens / early 20s back in the 80s. And I continue to treasure those moments.

The album opener is a somewhat perfunctory Iron Maiden track, patented galloping guitars, simplistic, and radio friendly. Seems they wanted to get that out of the way first, so they could get down to serious business on track 2). The first six songs here vacillate between their proggy ambitions and compact rocker stances. And honestly, some do go on longer than they should. The last four tracks, totalling about 34 minutes, shed their self-inflicted inhibitions, and go all in for their prog rock tendencies. We hear this often with Maiden in their post reunion efforts, and it's what makes all these albums so great. Hard to believe I'm reading reviews that the band were "coasting" during this era. One presumes they are listening to the whole album, not just the beginning. These guys are extending their abilities as far as they can, something they continued to do through recent times. Don't listen to a single naysayer. They're not plugged in properly.

A Matter Of Life And Death is yet another essential Iron Maiden album in a library full of them. These guys will be in future history books. Beyond music.

Ownership: 2006 EMI Argentina (CD). Booklet with lyrics, photos, and recording details. Acquired in 2011.

11/5/11; 9/1/15; 8/5/26 (review)
 

The Final Frontier (2010)

Already back into the Iron Maiden collection, very soon after documenting No Prayer for the Dying. Random but timely selection. As noted below, I haven't documented any of the Dickinson reunion albums save their latest Senjutsu. Looking at my database, I didn't get back into Iron Maiden until 2011. So I took a 21 year hiatus from the band after No Prayer. I then proceeded to buy all of their albums (on CD) from Brave New World through their latest at the time, which is the album I'm featuring here. To be honest, I feel like I'm hearing it for the first time, as little registered on initial impact (and a second listen four years later), other than I thoroughly enjoyed it.

The Final Frontier has a very unique opening. Mostly martial and synthesizer atmospheric, very un-Iron Maiden like until about midway through the track. I enjoy the deviation, if maybe a bit too long. Track 2 reintroduces us to the Maiden we all know and love. Galloping guitars (all three of them: Murray, Smith, and Gers) with Dickinson's piercing vocals. Harris and McBrain are always busy, moving the proceedings along at a brisk pace. 

On The Final Frontier, Iron Maiden uses the first five tracks to play to their "compact" side, and the later five to indulge their proggy tendencies. As mentioned on the Senjutsu review, I love that Maiden continues to push the envelope as they age. If you want to hear Iron Maiden in their creative mode, you could program out tracks 2 through 5, and experience a full album in that style.

Other than "The Iron Maiden sound" what else can I listen for? Memorable tracks, like the ones I recall almost verbatim from the 80s. As I listen carefully, I think it's the entire second half (to pick one, I'd go for 'Starblind'). Thinking through this further, if I heard Powerslave on a quick run through, I'd have little to recommend. But we played that album so much then, we knew every note back and forth. If I did similar here with The Final Frontier, I'd probably hold it at the same level. I suspect that many dyed-in-the-wool 80s Maiden fans (like myself) would come to a similar conclusion. But we don't listen to music that way anymore. Too many choices, not enough time. I'm enjoying my extended time with albums like The Final Frontier. Going back to my roots.

Ownership: 2010 UMe (CD). Booklet with lyrics, recording details, and "Eddie" artwork. Acquired in 2011.

7/25/11; 10/2/15; 10/20/25 (review)
 

No Prayer for the Dying (1990)

By 1990 my interest in Iron Maiden had waned. As I continued to burrow into the progressive rock underground, my only interest in metal was coming from the tech thrash side. Iron Maiden was from the old NWOBHM school, which had worn thin by then. I did like that Maiden were experimenting with prog more and more, yet it wasn't enough compared to what I was discovering from the 1970s European scene. And they weren't heavy enough either to draw my attention to them from a metal perspective. Despite all of this, I did go ahead and buy this LP not long after release. It would prove to be the only original Iron Maiden I let go out of the collection. And that was probably 30 years ago (1995). I also stopped here with the band, and ultimately dug back in on their post 2000 reunion albums some 21 years later. Much of which I still need to document.

It also seemed that Iron Maiden's interest in Iron Maiden had begun to wane by 1990. Second guitarist Adrian Smith had bolted and was replaced by Janick Gers. They seemed to be out of gas, and that their spectacular run of 1980s albums were over. Today, No Prayer for the Dying is by far the lowest rated Maiden album (on RYM at least) with Bruce Dickinson (or Paul Di'Anno) as vocalist. Though absurdly Senjutsu is not too much higher. See below for my thoughts under that LP's entry. In any case, a local buddy who gives me great deals on albums, had a newer reissue on hand. It was at a retail price, but I felt I owed him a bit, so why not try it again? If I don't like it, I can resell it for the same price and make my money back. It's been 30 years (at least) since I last heard the album. Is it really that bad? Much has changed in Genius Hans' world since 1990, when I was all of 25. Let's go in with an objective, other-side-of-the-mountain viewpoint.

As side 1 rolls on, it's easy to see why I had dismissed the album from the onset. The band had purposely moved back to a "simpler composition" style, never a good sign. That's ironic in that Maiden in its current form is going in the exact opposite direction, adding more complexity as they get older. Despite being more basic, their sound was also more lightweight. It's still metal, but on the border with hard rock. Seems the band were hedging their bet, and yet it was all the wrong choices for the times. Iron Maiden were trailblazers, the leading light, and here they aren't progressive, heavy, energetic, or particularly memorable. On this latter front, it's hard to discern the differences from cut to cut. The exception being the closer 'Mother Russia', which I recall being the only track I really liked initially.

To my initial question - is it really so bad? Oh heavens no. My rating was entirely too low, based on the emotional state of the time. Somewhere along the line I went from "it's OK" to "it blows". That is certainly not the case. The group sounds on point actually, and the newly paired guitarists are playing some nice unison lines. Harris and McBrain are also in top form from a rhythmic perspective. Only Dickinson doesn't sound right, primarily because he was asked to reign in his air-raid siren voice for something more direct and raspy. Bad decision especially considering that's one of the defining characteristics of the Iron Maiden sound, post Di'Anno. In conclusion, I am now a full 1.5 stars ahead of where I stood years ago. I do think it's a good album, not a toss away effort.

Even with the apologist stance, I would still rate this as the lowest of the Iron Maiden albums I've heard. I did miss out entirely on the rest of the 1990 decade, and I know the Bayley albums aren't held in high esteem. Nonetheless I have since picked up two of the three I was missing from that time period (still haven't heard them), and I'm sure I'll find the other. See the bottom of this post for what I still need to review.

Ownership: 2017 Sanctuary (LP). Lyric inner bag. Acquired in 2025. 

First copy: 1990 Epic (LP). Acquired in 1990.

1990; 1995; 9/27/25 (review)

Somewhere In Time (1986)

As noted often here, I was a big fan of Iron Maiden real time, so all of their albums from the 80s have a special place in my heart. I bought this LP when it came out in my senior year of college, and I saw them live in January of '87 in Lubbock. I found the ticket stub the other day. Considering that Powerslave was burned deep into my DNA, any album coming after that would be tough to absorb. But Somewhere In Time is a great follow up. RYM has it as their 4th highest rated behind their two recognized masterpieces: Powerslave and Number of the Beast. Seventh Son gets the 3rd spot, but I would beg to differ. I'd probably place the debut and Piece of Mind higher myself, but we're splitting hairs at this point. Generally I read that Somewhere In Time is where they embraced synthesizers. I suppose so... but Iron Maiden were always proggers at heart, something I find myself repeating often in these pages. Somewhere In Time is the first Maiden album that I didn't listen to incessantly upon release, as I was very heavy into the 70s European underground by this point in my life. Which in a way is good, as I can still experience musical discoveries here. The Sanctuary CD offers bonus videos. I should actually watch those some day.

Ownership: 

1986 Capitol (LP). Acquired in 1986.

2002 Sanctuary (CD). With video. Acquired in 2006.

1986 Capitol (MC). Acquired in 2026.

1986; 1//06; 8/17/15; 10/23/24 (review)

Senjutsu (2021)

It's nigh impossible to limit the superlatives when talking Iron Maiden. There's really no precedent of a band who has remained true to their sound for 41+ years and continues to evolve and grow in a positive manner. These guys are well into their 60s now, and every album they release is as if they were still in the middle 1980s pushing the boundaries of what heavy metal can potentially be. Most groups with the stature of Iron Maiden would go on to release a perfunctory new album with ten forgettable three to four minute run throughs, then hit the road, and play all the fan favorites from 35 years ago. Not Iron Maiden. How about a triple album with 10 minute plus involved tracks with fun light reading names such as 'Death of the Celts' and 'The Parchment'? And they're so spoiled they have everybody do things for them. Ya know, like singer Bruce Dickinson flying their own 747 around the globe. Who does these things? Whatever the question or challenge, Iron Maiden wins. And yet on forums such as RYM, Iron Maiden is put through the ringer by those much younger with zero perspective. Yes, of course Iron Maiden were never the heaviest - or fastest - or most complex band ever. They are just simply the best at what they did (and do). They are legends in their own time, and that will only grow as the centuries roll on.

As for their 17th album Senjutsu, Iron Maiden continues to bring it. This isn't easy listening metal. And no there isn't anything particularly catchy about it. No different than the prog albums we adore and champion. Iron Maiden is not the latter, but is clearly influenced by the genre, and they make no bones about it either. 82 minutes is a lot to absorb, but if in a patient mood, the listener is rewarded (i.e. I've had this album sitting in the new arrivals box for over six months and just now getting to it). These are albums that are designed to outlive the band. 50 years from now, new serious young minds will want to go beyond whatever is their pop du jour, and tackle something more challenging. Iron Maiden will be one of the early bands they will learn about. On my first listen to the album, I played the first two LPs, and then flipped the 3rd one back and forth for three listens each. Not that I liked it any more than the prior material, it just seemed like a good way to appreciate the album. Honestly I couldn't tell you too much about their Version 3.0 albums starting with Brave New World (2000). This era of the band has far outlasted any other, and all their albums are consistently great. I know their 80s work far better, because I grew up with them - listened to the albums constantly - saw them live a few times - even played soccer with them. They were a huge part of my high school and college years. A soundtrack perhaps. My life post-2000 has been completely different, so I don't relate to Iron Maiden's new music in the same way. But what I do know is that every revisit will seem like I'm hearing a brand new excellent album by Iron Maiden. And that's the exciting part of music such as this.

Ownership: 2021 BMG (3xLP). Triple gatefold. Red and black marble vinyl. Acquired in 2022.

9/4/22 (review)

Iron Maiden (1980)

Iron Maiden's debut actually predicts their future better than the follow up, Killers. 'Remember Tomorrow', 'Transylvania', 'Iron Maiden', and especially 'Phantom of the Opera' are overtly proggy, while 'Strange World' is a fine ballad. The opening 'Prowler' has a strange psychedelic aura about it, though with Di'Anno singing, you're always closer to punk than psych. One track that I've always had near the top - but is widely panned by fans - is 'Charlotte the Harlot'. Despite the rather dumb subject matter, the track features some nice mood changes, and the blistering dual guitar solos coming out of the last break, are some the most pointed and fierce of their entire career. The US version adds 'Sanctuary', a mid-level song that foreshadows Killers. The only track I can do without is 'Running Free'. Iron Maiden are huge English soccer fans, and they had a tendency to slip in a "football styled" anthem every once in awhile, similar to Judas Priest in that way.

Anyway, brilliant album. You already knew that... presumably.

This came out when I was 15, so it's likely my mom took me to the record shop to buy (and it is this exact copy). Just makes me laugh when I think about it. Incidentally, she's still alive and kicking strong. 81 and as feisty as ever. Lives independently in an apartment about 10 minutes from our home here in Colorado. She'd lived in Texas for 51 years straight, so it was quite a change for her. I remind her that she's responsible for my dementia in music. We just crack up. If Mom had it her way, I'd be singing church hymns instead. On another side note, the cover of Eddie here looked like one of our neighbors back in Texas. I digress. 

Ownership: 

1980 Harvest (LP). Acquired in 1980.

1988 Capitol (CD). Acquired in 1990.

1980s Capitol (MC). Acquired in 2024.

1980; 4/28/20 (review) 

Killers (1981)

Definitely the most straightforward of the Iron Maiden albums. The band were at the crossroads here of raw heavy metal and the more elaborate composition style band leader Steve Harris seemed to prefer. Paul di'Anno was always more suited to be a punk rock singer, and the music here fits his style perfectly. That's not to say the music here isn't complex, often times it is, just more compact. Especially on Side 1 with 'Wrathchild', 'Murders in the Rue Morgue', and the instrumental 'Genghis Khan'. Eventually, though, Harris followed his instincts and recruited from fellow NWOBHM band Samson - the Renaissance Man known as Bruce Dickinson - and thus Iron Maiden were guaranteed their place in music history.

On a personal note, I had the privilege of seeing the band on the Killers tour during the summer in my hometown. I still have the ticket stub: June 13, 1981 at Moody Coliseum (Dallas - SMU campus). I was all of 16 and drove another high school buddy there in my old 1973 Chevy Impala. It was originally a three band bill with Iron Maiden opening, Humble Pie, and Judas Priest headlining. An unusual pairing, and I'm sure the promoters felt they needed Humble Pie to help fill the arenas, as heavy metal wasn't really that popular yet here in the States. Right before the show was to begin, we received an announcement that Humbie Pie had to cancel last minute due to an illness. The guy next to me was pissed! And we were elated - what a break! These were the two bands we wanted to see. So we got extended sets from each. I saw Maiden a few times after this with Dickinson, but it was great to see and hear them with Di'Anno this one time.

Ownership: 

1981 Harvest (LP). Acquired in 1981.

1988 Capitol (CD). Acquired in 1990.

1981; 5/24/12; 8/19/15; 4/22/20 (review)

Also own: Number of the Beast; Piece of Mind; Powerslave; Live After Death; Seventh Son of a Seventh Son; Fear of the Dark; Virtual XI; Brave New World; Dance of Death; The Book of Souls

4/22/20 (new entry)

Nathan Mahl ~ Canada ~ Ottawa, Ontario

Heretik Volume 1: Body of Accusations (2000)

As noted in the The Clever Use of Shadows review, I was an early adopter to the progressive rock sounds of Nathan Mahl. So when Heretik Vol. 1 showed up, I picked up a copy relatively not long after release. I was very pleased with the contents, shelved, and then subsequently ignored the band for many years. I really don't remember the circumstances as to why I did this, though I suspect I was already becoming cognizant of the "too much of the same thing" phenomena that plagued me for years. It was only later in their career that I reacquainted myself with Nathan Mahl. By then I wasn't too keen on their move to a more modern type of progressive rock, that I largely rejected as a whole. My review of Justify, well, justifies my position. Because of this, I never went back to the second and third part of the Heretik series. While I'll continue to make no serious effort to do so, if I ever do get a chance to nab them on the fly, I'll be happy to check them out.

And that's because Heretik Vol. 1 remains a thoroughly enjoyable listen. The album is chock full of old school prog, and it's Guy LeBlanc's keyboards, both analog and digital, that carry the day. The 70s influences are undeniable, mostly from the bigger name UK prog stars from Yes to Genesis to, especially, Camel. The latter group he was to join in the same year. Not to take away from Mark Spenard's guitar work, which is also noticeably strong. Vocals are a weak point here, delivered by LeBlanc, though they are hardly dominant and the album is primarily instrumental. I do agree vocals are necessary for the purposes of flow and sound differentiation. But a more dynamic singer is needed for the complex compositions. I remember discussions "back in the day" (as in 2001) complaining about the drumming (back then all the prog fans complained - about everything it seemed - which is why I dropped out of the "community"). It's my understanding that LeBlanc had to step in last minute for this duty as well. I think he did an admirable job, and no concerns from me. Keeper this one is.

Ownership: 2000 Mahl (CD). Booklet with lyrics. Acquired in 2001.

2001; 2009; 3/9/13; 8/5/26 (review)
 

The Clever Use of Shadows (1998)

I've always liked Nathan Mahl - or at least the early albums. To this day I think Parallel Eccentricities is one of the hidden gems of the early 80s. After that album it seemed Nathan Mahl were a thing of the past. Which is why I remember being quite pleasantly surprised to hear LeBlanc resurface first with Mahl Dynasty and then again with Nathan Mahl. The Clever Use of Shadows was a great comeback, and due to its relative popularity, Nathan Mahl were to be a fixture of the progressive rock scene throughout the 2000 decade. Like the Odessa album I just commented on, The Clever Use of Shadows is yet another album buried in my collection that I couldn't recall anything about, and yes, it's been about 21 years since I last heard it. But this past week's listen put a smile on my face, and reinforced why I enjoy so much their first two albums. The compositions are dense, yet very melodic. It's mostly instrumental, but never showboaty, repetitive, or dull. Not an easy thing to accomplish, considering most instrumental prog is just that. Guy LeBlanc is no longer with us, but his musical legacy will be around for many years to come, as new generations will discover the quality within.

Ownership: 1998 Mahl (CD). Liners from Guy LeBlanc detailing each track. Acquired in 1999.

1999; 5/10/20 (review)

Justify (2014)

Nathan Mahl's latest album is a mix of instrumental heavy fusion and song oriented rock. The fusion tracks are all impressive in their sound textures and technical acumen, but seem nothing more than a skeleton structure for showboating solos. There's not much in the songwriting department I'm afraid to say. Meanwhile the vocal cuts are of the modern variety with annoying emotive vocals, and boom-boom-bash drumming - all over a slick-as-a-butter-dish synthesized production base. These vocal tracks really pull Nathan Mahl away from what they do best. Not a bad album at all, but disappointing for a band with a legacy such as Nathan Mahl had.

Former ownership: 2014 Unicorn Digital (CD). Acquired in 2014.

8/14/14 (review)

Other albums I own: Parallel Eccentricities

Albums previously owned: Exodus

5/10/20 (new entry)