2026 Psychedelic / Garage Journal Vol. 1

Au.Ra - Jane's Lament. 2015 Felte (LP). Found this for a quarter digging in the bins. I always buy modern albums if I find them cheap. Most are of the indie rock / alternative variety, which I really can't stand. Those get scanned and dumped into the show boxes immediately, hoping to find a home to a more appreciateive audience. But this one was different, so I set it aside for a full listen and here we are. Starting with a motorik beat similar to Neu or Can, Australia's Au.Ra go about layering shimmering psychedelic guitar tones (no ripping solos however). It's just a couple of dudes, but they have an effeminate sound. I guess technically they fall into the shoegaze / dream pop category. Which I know very little about, but it seems to be the soundtrack to every multi-colored haired, pierced, and tattooed person I run into when I'm in the more densely populated urban areas. Certainly Stereolab is in this conversation given their psychedelic disposition. This is the kind of music I like hearing at a record store, though I know better than to take one home. It generally lacks depth, not ideal for multiple intensive and life changing listens. But it is very easy to listen to as background. Final track is more electronic and represents a nice diversion. Certainly the album deserves more than 5 dollar record status, but yea, I can understand that too. Lots of it in the marketplace. Not really psychedelic or garage, but where else to put this? It's fine here. (4/18)

Sky Sunlight Saxon - The King of Garage Rock. 2008 Garage Masters (CD). I'm largely ignorant of Sky Saxon's works including his legendary stint with The Seeds. Raised a Mormon in Salt Lake City, Richard Marsh can only be described as a "true believer" of the ideologies of the 60s hippie movement. He joined the YaHoWa commune in 1973 and continued to play underground music throughout his life. His music is generally associated with the garage side of the house, whereas my interests lie in psychedelic. Which is why I haven't pursued his albums with much interest prior. His legacy was alive and well going into the mid 1980s, and unlike most famous (or semi-famous) 60s artists, Saxon was a more than willing participant in the neo garage movements of the decade. He continued for another 20 years before passing away. One year prior to that event is the album I'm checking out now. It's essentially a covers album of famous 60s hits with fuzzy guitars and barking vocals. The fact that Saxon was 71 at the time gives him a free pass to do whatever he feels like. Even though Gurumaniax takes the cake for old codgers igniting stereos in flames, it's always refreshing to see others follow suit. In the end, this album is redundant and probably unnecessary. Not a bad way to go out though. (3/7)

Mount Rushmore - High on Mount Rushmore. 1968 Dot (LP). It was way back in college that I stumbled upon Mount Rushmore's 1969 sophomore - and last - album. Long sold off, I'm now hearing their debut for the first time some 40 years later. Much more consistent than most American bands from the late 60s, Mount Rushmore stick to what they know best: Heavy blues based psychedelic infused hard rock. Gruff vocals, fuzz guitar, plodding rhythms. Nothing revelatory but a good one for genre fans. Neither of their albums have been reissued on CD (legit that is), and that would be a better way to go here. This copy came from a dig in the bins and is in subpar condition. And that seems to be the case for every copy I've seen. (2/20)

Spooky Tooth ~ England

Ceremony (1969)

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

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

Source: 1970's A&M (LP). Later 70s pressing.

4/18/26 (review)

It's All About (1968) 

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

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

4/29/25 (review)

Also own Spooky Two.

4/18/26 (new entry)

Deep Purple (& related) ~ England

Deep Purple are arguably one of the best hard rock groups ever, going toe to toe with Led Zeppelin in the 70s popularity sweepstakes. The primary difference is that Deep Purple continued on into the 80s and beyond, and are still releasing new product. I haven't heard a Deep Purple album yet that I didn't enjoy at some level. Granted I haven't listened to anything new from the band in nearly 30 years, but I'm sure I will at some point. As you will see below, the later albums are new to me in the 2020's, that's how long ago I dropped Deep Purple from the buy category (1984). I have more of their classic albums here too, just haven't penned any notes for them yet.

As for the "& related" appellation, I'm casting a wide net. Mostly I'm thinking of groups and artists that I wouldn't likely separate anyway, so might as well include them here. The exception is Rainbow, and I'll get a page up for them the next time I review one of their albums or 45s. 

Concerto For Group And Orchestra (1969)

Concerto For Group And Orchestra is Jon Lord's dream of the prestigious Royal Philharmonic Orchestra playing his own concerto. Which was a really big deal for 1969. The button up orchestra going up against the blues rock ruffians. There isn't much cohesion at all between the two. There's no fusion or interplay here. The classical is the classical, and the rock is the rock. While I can appreciate the former, and own a fair share of classical albums, it's the latter I'm focused on. Had this been released strictly as a typical Deep Purple album, after Deep Purple (III) and In Rock, they may have lost their audience before they got there. It's nothing more than a charming novelty at this point. I can't judge the quality of the concerto itself, that's for a different audience. 

I'd never sat down and heard this album prior. I have this on DVD as well, just haven't viewed it yet. I think it will translate better in that format.

Source: 1970 Warner Bros (LP). Gatefold. Green label.

4/18/26 (review)

Whitesnake - A Slip of the Tongue (1989) 

As with their 1987 album, A Slip of the Tongue starts off strong. It doesn't take long, though, for Whitesnake to out-cliche the cliche. The title certainly is indicative of their mindset. One senses at this point that they're jealous not to have been from Los Angeles. They certainly sound like it. Depraved and all of that, but musically it's good hard rock. Nothing more though.

Source: 1989 Geffen (MC)

1/29/25 (review)

Tommy Bolin - Private Eyes (1976)

Tommy Bolin's albums show up quite a bit here in Colorado since that's where he first made his name. So what do we have here from Bolin's post Deep Purple life? It's an eclectic album mixing various AOR and classic rock styles. Most of the tracks are pleasant and well written. With excellent guitar work as to be expected. I'm not real keen on A2 and B3, but the rest is very good. The payoff cut here is 'Post Toastee' the only place that Bolin really lets loose on the guitar. I remember hearing this song on the radio while still in high school and wondering who it even was. Once I found out and then saw the album cover, instincts told me to avoid. And that was the right call at the time. Unfortunately this was to be Bolin's last work, dying of a drug overdose at the young age of 25.

Source: 1976 Columbia (LP)

4/28/15; 1/27/25 (review)

The House of Blue Light (1987)

In recent years I've inexplicably acquired a taste for later era Deep Purple. As I reflect back, The House of Blue Light would have been the first album I'd ignored entirely and that remained the case until only the last few years. My reunion with Perfect Strangers went much better than expected, and I hear this album very similar to that one. So why would that be the case? I think real time, to my ears at least, these old dinosaur rockers weren't bringing anything new. Blues based hard rock was ever pervasive on the radio and honestly a bit tired by then. Forgetting my initial deep diving into the 70s European underground for a moment, I was also tracking current metal trends, in particular on the thrash side. That was where my high energy dollars were going. Not hard rock retreads.

Today I hear a band that was embracing their past while begrudgingly giving into some 80s trends. Essentially it's retro hard rock 15 years before anyone would think of such a thing. While some of the production techniques remind us of the 80s synth pop bands, Blackmore's guitar is still rooted in the 70s past. Gillan sounds great, though less emotional than his best works. He seems to be emulating Dio oddly enough. Sure 'Call of the Wild' can be skipped (not really a bad song, just the wrong band to perform it). 'Hard Lovin' Woman' has the right title but the perkiness doesn't match. The rest of Side 2 is where the revelation is. One wonders if many fans had the patience to get that far. Every track is a winner and Blackmore lets loose more than usual. 'Dead or Alive' is a great closer where Jon Lord finally shows up with his Hammond B3 and they get into an updated 'Highway Star' solo trade off.

Certainly not suggesting that The House of Blue Light is the pick of the Deep Purple litter, and I'll probably sell it at some point. But it's much better than I expected.

Ownership: 1987 Mercury promo (LP). Acquired in 2024.

6/4/24 (review)

In Rock (1970)

Below I wrote for the follow up album Fireball: "While seemingly half of Europe was copying Deep Purple - In Rock's innovations with hard rock, the band themselves regressed back into blues rock." In hearing In Rock for the first time in many years, I think I managed to underestimate it. Every track is a hard rock winner, with Blackmore and Lord trading the heaviest solos of their career. Ian Gillan provides the blueprint for every hard rock, and later, heavy metal vocalist. Paice and Glover are on fire here. 'Child in Time' is a track for the ages. 

Ownership: 

1970 Warner Bros. (LP). Gatefold. Upgraded in 2025.

Green label; 

Warner Bros. (CD). 2000's press.

First copy: 1983 Harvest / Fame (LP). Acquired in 1986.

1986; 2006; 2/2/23 (review)

Deep Purple (1969)

Deep Purple's 3rd album is an odd bird to be sure. It's a ship without an anchor. Is it prog? psych? hard rock? The answer is yes. They really have a great sound here with Blackmore displaying more of an acid tone than usual and Lord's Hammond way out front. This was to be the end of Mk. 1, before the band decided to rip their shirts open to show their hairy chest while their balls clanged to the ground. It was the right move at the right time, and Deep Purple are legends because of the variation of the band known as Mk 2. What would have happened had they continued with Evans and Simper? Hard to know but likely they would have stayed regional and ultimately faded away - one more 60s English band that is more a footnote than one with a true historical legacy.

In any event, I like this 3rd album - as quirky as The Book of Taliesyn that preceded it. No major highlights but an easy album on the ears that doesn't ask too much from the listener.

CD comes with five bonus tracks, two from a single and three taken from BBC radio sessions.

Ownership: 2003 Purple Japan (CD). Extra thick gatefold papersleeve. Acquired in 2005.

7//05; 12/4/22 (review)

Whitesnake - Lovehunter (1979) 

A real outlier in RTs collection. "I liked the cover" he tells me. Well yea, can't argue that point! Lyrically these guys were really plugged into the macho oversexed culture of the day. Today they would be cancelled for being sexist pigs. Which is, of course, what they were... Musically it's still the same old bluesy hard rock that one would hear from 1973. So they had fallen way behind on that front. Ultimately they would catch up with the era they lived in (see our notes on the 1987 album). A pretty good album, but nothing that really stands out.

Source: 1979 United Artists (LP) 

11/24/21 (review)

Fireball (1971)

While seemingly half of Europe was copying Deep Purple - In Rock's innovations with hard rock, the band themselves regressed back into blues rock. At least for the first side. Though the opening title track is a burner, the rest takes us back to the late 60s pre-proggy era of Purple, and is shockingly ordinary. Side 2, however, makes up for it and picks up where the last album left off. Much more interesting and creative hard rock - though not trailblazing. When it's 1971, you are Deep Purple, and your album is named Fireball, one presumes you'll get more than this. Led Zeppelin, for their part, put out 'Stairway to Heaven' among other tracks etched into our collective DNA's. You think they created some separation there in the public's mind? Oh yea. Meanwhile Black Sabbath was dominating the underground with Master of Reality. Most people here couldn't name one song on Fireball, as none of these made it out of the early 70s as far as American FM radio was concerned. They were to make up for all of this in a big way the following year with Machine Head. But they lost some ground in 1971, a most pivotal year.

Ownership: 2000 Warner Bros. / Rhino (CD). Full written history, new photos, vintage posters, old reviews, and multiple relevant bonus tracks including a 45 single. An excellent reissue. Acquired in 2016.

2//06; 8/13/16; 3/25/17; 10/23/22 (review)

Trapeze - Meduza (1970)

Trapeze's second album is a solid hard rock work, one step ahead of the more blues oriented competition. The band is most known for contributing Glenn Hughes to Deep Purple and Dave Holland to Judas Priest (later), though they had a nice career throughout the 70s. Guitarist Mel Galley found success with Whitesnake as well. Speaking of Judas Priest, one can hear their prototype on tracks like 'Jury' and 'Medusa'. Not a life changing album, but this is good meat and potatoes hard rock.

Ownership: 1970 Threshold (LP). Gatefold. Acquired in 2022.

8/26/22 (review)

Perfect Strangers (1984)

The hype sticker on my copy screams "Destiny Brought Them Together. Again." So we'll presume then that it was destiny that intervened and broke them up. Again. Or it could just be that Blackmore and Gillan couldn't stand each other. But on this reunion of the famous "Mk. II" band, their first together since 1973, the band sounded fresh. 1984 was an odd time for an old fashioned hard rock band to be trying to make a comeback in a world full of heavy metal bands and New Wave pop artists. Undeterred, Deep Purple did just that. The title track sounding more classic Led Zeppelin than Deep Purple, nonetheless they caught fire and Deep Purple were back in the limelight for the first time in a decade. Jon Lord's organ hasn't changed one bit (no need for cheap synthesizers), Blackmore is ripping solos in his inimitable way, and Gillan is still sounding like a virile young man. The only downside is that Glover and Paice did decide to sound more 80s, and the wide open beats are too simple for these guys. 'Burn' this is not. All the same, a triumphant comeback album.

Ownership: 1984 Mercury (LP). Lyric insert. Reacquired in 2021. First purchased in 1984.

1984; 12/29/21 (review)

Purpendicular (1996)

One of my favorite pastimes of late is enjoying past-their-prime releases of known bands. Uriah Heep, Saxon, and... now add Deep Purple to that list. If nothing else, gives me something to look for while combing the thrift shop CD bins. I had a grade on this from before, but I don't remember a thing about it, which tells me I probably heard it real time. Back then I wasn't so keen on these "has-beens" trying to stay relevant. I also didn't give it a chance I'm sure. In reflection, I'm hearing the classic Deep Purple sound 20+ years from their best years. And when one looks at the line-up, it's Mk. 2 with Steve Morse instead of Blackmore on guitar. Which is sacrilege for many, but Blackmore left Purple behind a couple of times, and hasn't looked back since 1993. So what's a band to do - quit? No. Persevere. Bands as brands as I've said many times before. This is pretty much 70s hard rock with Hammond organ (yep, the old warhorse Jon Lord is still banging away on the heavy piece of wood) and Morse providing a more updated guitar approach (i.e. more notes per minute). Gillan sounds great, and his bluesy voice is timeless. Paice and Glover are a machine by this point. Good set of tunes. What else do you need? 

Ownership: 1996 Prominent (CD). Acquired in 2021.

10/22/21 (review)

The Book of Taliesyn (1968)

Clearly Deep Purple were going towards heady waters with a title and cover like this, especially for 1968. In fact, Deep Purple had to make a conscious decision to move away from prog and over to hard rock eventually, and it was there they found fame and fortune. I had my best listen in 35 years this go round (+1). Really appreciating Jon Lord's Hammond organ contributions at this point of the group's career.

Ownership: 1971 Harvest UK (LP). Gatefold. Acquired in 2020.

First copy: Tetragrammaton (LP). 80s press. Acquired in 1986.

1986; 2//05; 10/19/21 (review)

Whitesnake (1987) 

I remember when this album first came out, and the track I heard was 'Still of the Night'. Based on that, I purchased the LP. To great disappointment. And sold the LP in the mid 90s (if not before). Once I saw this special edition, I thought this would be a good chance to hear it again. The CD opens with - you guessed it - 'Still of the Night'. Which is not how the originals started, but makes sense in retrospect. It's a foot stomper of a track. Huge fat chords, heavy beats, and creative passages. It's a no wonder I was drawn to this album originally. And that's pretty much it for that style. Certainly tracks like 'Bad Boys' and 'Children of the Night' bring it as well, and have earned their hard rock street cred. But boy is this an album of the 80s or what? Big hair, beautiful bodies, and little brain use. 'Is This Love?' is pathetic - gee, I don't know - is it? I'm pretty sure the only things these guys would have known is 'Is this Sex?'. 'Here I Go Again' is the kind of track one would think a time traveler would make about 80s music, it's such a caricature of the entire genre. We can criticize this album all day long, but this is exactly what audiences wanted back then. It does have a time and place charm, that's for sure. I'm keeping it. File next to your mousse can.

Ownership: 2007 EMI Europe (CD + DVD). 20th Anniversary Special Edition. Double digipak with four live tracks. Acquired in 2021.

First copy: 1987 Geffen (LP). Acquired in 1987.

1987; 3/6/21 (review)

Warhorse (1970)

The debut of Warhorse is quite a powerful tour de force for 1970. Bassist Nick Simper is the big name here, coming fresh off his firing from Deep Purple. Probably no surprise then that vocalist Ashley Holt is a screamer in the Ian Gillan mold, by then certainly Simper's arch enemy. The band also originally had Rick Wakeman in its ranks, but replacement Frank Wilson pounds on the organ with the best of them. But it's guitarist Ged Peck who steals the show here, and lays out a blueprint for the riffing style that was to come years later. There's little from 1970 that has the pure force of 'Burning', the album's highlight along with the raucous closer 'Woman of the Devil'. Of the seven tracks here, five are excellent or beyond. 'Ritual' is, as other's have noted, a bit too close to 'Mandrake Root' for comfort. 'St. Louis' is the only skip over track as it sounds like Deep Purple playing with.... The Partridge Family. I'm serious! Two small marks on an otherwise brilliant hard rock album, a pioneer of the genre honestly.

Ownership: 1999 Angel Air (CD). Liner notes, photos and five bonus tracks. Four are live versions from the album proper, and the other is the demo track 'Miss Jane', which was best left on the cutting room floor. Acquired in 2005.

2005; 5/4/19 (review)

Warhorse - Red Sea (1972)

Add another name to those who feel disappointed by this effort. I had that somewhat cheap looking Thunderbolt vinyl reissue going back to the 80s, and sold it not long after, as I was nonplussed about the music from the get. However, I picked up the Angel Air CD about a decade ago, and thought it good enough to keep. This relisten validates my initial assessment.

In hearing it again, it becomes obvious why most folks tend to appreciate the album, including myself. The first two tracks are excellent, sounding exactly what one expects of Warhorse: That of Mk. 1 Deep Purple emulating Mk. 2. But the appropriately titled 'Confident But Wrong' shows the frayed strands of creativity, and introduces us to four very ordinary rock and roll tracks that are a slog to sit through. Though the lengthy 'Mouthpiece' looks alluring on paper, one quickly realizes there's not much but a skeleton of a song there, with an overlong drum solo to boot. 'I (Who Have Nothing)' begins to turn the corner with its shrieking Ian Gillan-like pleas, but it's clearly too late, and this warhorse has already sunk to the bottom of the sea. And this would be the end for the once promising hard rock band.

Given the pedigree of the band, this album was somewhat "mainstream" in real time, and was pressed in multiple countries. Surprisingly, though, it did not receive a US pressing.

Former ownership: 1999 Angel Air (CD). Acquired in 2005

2005; 7/10/16 (review)

Other albums I own and need to review: Machine Head; Made in Japan; Who Do We Think We Are; Burn; Deep Purple In Concert

1/1/17 (new entry)

2026 Revisits of prior UMR entries Vol. 2

Xing Sa - Creation De L'Univers

Panko - Weil Es So Schon Perlt

Roadmaster (1976)

Herba d'Hameli - Interiors

Syd Arthur - On an On

Phase - Midnight Madness

Progenesi - Ulisse

El Reloj (1976)

Fruupp - Modern Masquerades

Kotebel - Concerto for Piano and Electric Ensemble

Halloween ~ France

Le Festin (2001)

Le Festin was the final album from Halloween before a recent reformation a couple of years ago. They had a very nice four studio album run, all of which sit comfortably in my collection. Like many albums from this era, I dutifully purchased the album upon release, listened, and filed away. 25 years later, I'm back for a return listen.

Without notes to support, my recollection is that each Halloween album was steadily better than the last. Merlin, in particular, being quite the revelation at the time. As noted below, the debut was a bit rocky, but pulled itself together at the end, and the bonus tracks helped fill in the blanks.

By 2001, Halloween were pros in the studio, and the sound is full and refreshing. Violin plays a major role in their overall sound. The mostly French vocals are distinctly sinister, clearly taking their moniker seriously at this point. Former female vocalist Geraldine Le Cocq is listed as a "very very special guest" and her presence is that of a full time member. Digital keyboards and electric guitar round out the rest of the lead instrumentation. The rhythm section is far from static and help move the tracks along in an exciting manner. The music is diverse, generally of the gloomy and atmospheric variety, and is highly creative. Seen a few references to the French Theatrical sound of Ange, but Halloween really aren't that lyrical nor as dramatic. Their music is almost unreferenceable at this point, though clearly well within the prog rock genre. One can still hear echoes of one of their primary influencers: Pulsar. Le Festin demonstrates where their sound could have landed in the 2000s.

Ownership: 2001 Musea (CD). Booklet with lyrics in French and English, unique art (similar to the cover), and recording details. Acquired in 2001.

2001; 4/7/26 (review)

Part One (1988)

One of the early groups coming from the French renaissance of progressive rock. I bought the LP not long after it came out. Like many such bands, one had to have tolerance for modern production values and a high level of amateurism. By that time I was such a huge fan of the genre, I was willing to overlook all of the flaws. Clearly the band were trying to emulate on some level the great Pulsar, but fell well short. They were to improve greatly after this. In any case, I was pretty much ready to dump this CD after all these years until the last two tracks, where the band finally hits their stride. And that's 15 minutes worth of high quality material. The CD is the way to go here, because the two live bonus tracks ditch the poor production while the quality of the musicianship and compositions come to life. My grade remains the same, but it moves into the solid keeper category.

Ownership: 

1994 Musea (CD). Details above. Acquired in 1994.

First copy: 1988 Musea (LP). Acquired in 1988.

1988; 1994; 2/15/23 (review)

Also own and need to review: Laz; Merlin

4/17/23 (new entry)

FM ~ Canada ~ Toronto, Ontario

Direct to Disc (1978)

Funny to watch my trajectory with FM, a band I couldn't be bothered with in my initial foray into progressive rock back in the 80s and 90s. Yes, I had heard all of their albums back in the day, since they were common then too. I had at least one friend insist that I should at least like the album I'm listening to right now, but I wasn't having any of it.

Now I'm a big fan of all their initial four albums. And, yes, Direct to Disc is certainly the most progressive oriented of the lot. There's also a strong electronic component here as well. Cameron Hawkins is completely unleashed here. Vocals are kept to a minimum, and there's no intent for securing a radio hit. In this way, I'm going to categorize the album different then their brethren.

You'd think an audiophile limited edition record, on a small label, would be worth serious dinero right? While certainly this title holds the most value, it's hardly a bank breaker. And for a limited edition, there sure are a lot of pressings out there. Making the premise faulty from the beginning. Ironically I found this for the cheapest price of them all, recently digging it out of a 25 cent bin. My entire FM LP collection cost me less than $5. 

Ownership: 1978 Labyrinth (LP). Gatefold. Acquired in 2026.

4/6/26 (review)

Surveillance (1979)

Musically Surveillance is very much the sound of the aforementioned Black Noise combined with City of Fear. Each album takes baby steps to more commercial realms, but they're proggers at heart, keeping the music interesting throughout. Suddenly I've become a late-in-life fan of FM.

Ownership: 1979 Passport Canada (LP). Acquired in 2023.

10/27/23 (review)

Black Noise (1978) 

Black Noise is an excellent example of proggy AOR music with fat sounding synthesizers, violin, and a strong rhythm section (Cameron Hawkins performs double duty on bass). Fits well in that unique Canadian niche of groups such as Saga, Dillinger, Klaatu, Avalon, etc... A couple of years ago I was pleasantly surprised by City of Fear, and so goes Black Noise. 

Ownership: 1978 Visa (LP). Acquired in 2023.

10/22/23 (review)

City of Fear (1980) 

This is just the kind of album I poo-pooed in my youth. Constantly pushed in my face as "prog", I tended to react negatively. Well it's not Yes, but it's definitely proggy. And over the years I've really been drawn to that late 70s "prog AOR" music. And these Canadians have a great thick sound. Many highlights can be found here. Very much in the Saga, Klaatu mold. 

Ownership: 1980 Passport (LP). Gatefold. Acquired in 2021.

11/29/21 (review)

4/6/26 (new entry)

2026 Classic Rock / AOR Journal Vol. 1

Mike Pinera - Isla. 1978 Capricorn (LP). When I found this album in the 25 cent bin recently, I said to myself that I know this name but cannot remember why. Oh, that's right, he was the guy who shared the marquee with Iron Butterfly on their final first phase album. I couldn't tell you anything about his contributions there, an album I didn't exactly praise too highly. His recording career is quite extensive, beyond his own solo works. He's also the guy behind the label Illusion, which is filled with collectable titles. When deciding if I wanted to waste valuable time listening to this album (a beauty of a copy too), I read it was Yacht Rock. Like many of my generation, I have a sort of fondness for the cruise ship era, even if it was just a tad before my own high school years. And you know, the tag definitely fits. It's definitely rock oriented, not a cover-up for smooth jazz funk. Pinera plays a pretty mean guitar too. It seems he's on the verge of being the next Frank Marino, before jumping back onto the boat. Love the period synthesizers, and even some old fashioned organ can be heard. Good head boppin' and toe tappin' music. Were this a private release - say on the Illusion label haha - then it would be an easy three figure album. But alas, it's not. (4/6)

Azteca - Pyramid of the Moon. 1973 CBS Netherlands (LP). I've had this LP since 2003, and I don't think I've heard it again until today. During that period, my interest in Latin Rock has shot up considerably. Especially considering bands like Malo, Naked Lunch, Sapo, and Sincerely Antique. I was very familiar with Chango and Dakila back then, and I think it would have been unfair to expect every Santana influenced group to sound like those two. Even before owning this LP I had the debut on CD. It never clicked and I sold it off many years ago. In hearing Pyramid of the Moon I can understand why I did that. This isn't the raucous sound we've become accustomed to from the early 70s. Definitely more Latin soul influenced. Not to suggest there aren't moments of goodness here. Would have loved to hear more guitar from Neal Schon, as but one example, but he only guests on one track. Overall it's a smooth and commercial sound. Comparisons to Sergio Mendes wouldn't be unfair, from a glossy sound standpoint. Not something I need to hold onto at this stage. (2/17)

Offenbach. A&M (CD) (1977). Montreal's Offenbach is one of those groups that I've read about since the 1980s but never actually heard. This self-titled album is their 6th release. What you get here is nine short blues rock tracks with grungy guitar not much different from early ZZ Top. Most tracks mix in old fashioned rock n' roll, and couple of creative bits including organ and flute. Too straightforward overall for me though. (1/24)

The Open Window ~ USA

---Nov 2005

The Open Window is truly an oddball album (on the truly oddball label Vanguard). Very arty, with three non-percussion artists. Apparently Peter Schickele is known in avant-garde circles and has a full blown website (he's PDQ Bach as it turns out). This album is barely mentioned, probably a blemish on his record (as far as he's concerned). There's some fuzz organ here which I was drawn too.

---3/19/11

Perhaps the original avant progressive album. Despite featuring a psych album cover, the group clearly has an academic pedigree, while the music is rooted in both classical and jazz. Basically a trio of three keyboardists, with organ (some wonderfully fuzzed out and compressed), electric piano, acoustic piano, electric harpsichord, and clarinet. There are some oddly placed vocals, that give it a offbeat rock feel. Chamber jazz avant classical? Yea, I don't know how to describe it either.

---4/6/26

I had totally forgotten about this album. I sold off the copy above about a decade ago. Then found it again recently in a local record store's buck bin. I can't let it sit there for that price! I had also forgotten my notes prior, but it becomes clear from the above the album is almost unclassifiable. It's progressive for 1969, but not really progressive rock. And one feels compelled to throw a psychedelic tag on it, especially given the cover art. Stanley Walden's organ playing is the standout for certain. Or perhaps the sound rather than the technique. There is a bit of an early Soft Machine feel here, though I think it's coincidental. I was glad to revisit this title, and appended a +1 while at it, but still not something that is necessary to keep.

I never added this to the CDRWL, probably concluding it was out of scope. No matter, as in 2015 it was reissued anyway with bonus tracks.

Former ownership: 1969 Vanguard (LP). First acquired in 2005. Reacquired in 2026.

11//05 (notes); 3/19/11 (review); 4/6/26 (update / new entry)

Passport ~ Germany

Infinity Machine (1976)

---5/24/07

Infinity Machine is a fascinating experiment, which allows the listener the opportunity to fantasize what it would’ve been like had Tangerine Dream released a jazz album. Why you may ask? Check out the sequencers that dominate one half of the album.

---4/6/26

Had this noted in my "need to revisit" list below. Found a cheap copy at the last COS record show, so let's try it again.

I wasn't really quite sure what I was going on about in my original review. All of Side 1 is a typical funky type of fusion. Well done, though not particularly memorable. The title track opens side 2 in a more dynamic fashion. The album's highlight is the lengthy 'Ostinato' where Kristian Schultze gets busy with the synthesizers and mellotron. It's this track that I was referring to, though it's only half of a side, not album. The closer of both sides are of an introspective nature. Good album, which was my initial assessment, but not enough new revelations, beyond the one track as noted above.

Source: 1976 Atlantic (LP)

5/24/07 (notes); 2/8/14; 4/6/26 (update)

 

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; 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. Need to revisit all of them.

3/7/19 (new entry)

First Light ~ Australia

First Light (1978)

---7/19/10

First Light were a band from Australia with direct ties to the excellent progressive rock / AOR hybrid band known as Aleph. First Light is a bit different though, and they play a mighty fine (mostly) instrumental jazz rock. Sunny in its approach, with some excellent guitar leads, at times reaching a Santana like intensity. Some nice ensemble unison runs with sax, flute, electric piano, and the female voice on 'Earth Wave' gives it a Northettes feel, that adds points. 'Tropical Inequation' is brilliant, a 5 star instrumental. Back cover says: "Mellotron and special effects kindly supplied by Aleph",though I can honestly say I couldn't spot the mellotron. High quality Australian fusion that deserves to be filed next to Crossfire, Snakes Alive, and Mackenzie Theory.

---3/27/26

That was my review for the CDRWL. I also snuck in another listen to my cd-r and added it here to UMR (likely updated the review as well). Now I've finally secured the LP, much to my glee, and will forward the contents to the current date.

Do I have anything to add to the original review? Not really. I called out two tracks above, and they both open the second side. I would suggest, then, that this side is the better of the two. Though not by a whole lot. The music is highly melodic, and isn't showoff-y in the slightest. Sits comfortably between jazz fusion and progressive rock, though I would categorize it as the former.

Ownership: 1978 M.F.S. / Music Farm Studios (LP). Gatefold.

7/19/10 (review); 9/28/18; 3/27/26 (update)

No legit reissues as of 3/27/26.

9/28/18 (new entry)

Dionne-Bregent / Bregent ~ Quebec, Canada

Partir Pour Ailleurs (1979)

My memory of this album is almost non existent. I could have sworn I'd heard it prior to 2017, and wrote a review, but I have no record of such. The two Dionne-Bregent albums, yes, but not Partir Pour Ailleurs. 

And this isn't going to be easy. It's one of those unclassifiable prog rock oriented albums, which can only be considered a plus. The brothers Bregent consists of keyboardist Michel-Georges on keyboards, and Jacques on vocals. They are joined by at least five others on guitar, bass, drums, and reeds. This includes former collaborator Vincent Dionne. Jacques' French vocals are intense, recalling some of the Theatrical prog bands coming from France similar to Ange and Mona Lisa. The album opens with a 50s styled rock n roller like Johnny Hallyday. It's a complete head fake, as the remainder is a mix of challenging prog, heavy fusion, and electronic styles. Michel-Georges background in the field of progressive electronic ensures the listener that the music will not crossover into popular styles easily. There's even elements of Zeuhl and Canterbury present here. The music requires intense focus, as it's a very deep, intelligent, and surprisingly melodic affair. This is no academic avant prog album. Though recorded in 1978, most of the material is from 1972, which might explain the high level of creativity.

Also lost to memory is the CD includes a full live show titled Live A L'Uqam 1977. This is a more stripped down affair. Other than the final track, the others are live recordings of material taken from the album proper. Given the auditorium atmosphere, it would be difficult to produce the same results as the studio offered. No less satisfying however.

I did not realize that this is one of the best CDs in my collection. Until now.

Ownership: 2007 ProgQuebec (CD). Booklet with recording details, photos, and a short biography. Acquired in 2017.

6/10/17; 3/27/26 (review)
 

Deux (1977)

One year later from the debut, Dionne et Bregent provides us with a completely different outlook on Deux, one considerably more positive. Not to mention the material is much more of a complex nature, verse the entirely atmospheric debut. The first side, broken into seven parts, may recall for the listener other keyboard / drum progressive rock duos such as Rusticelli & Bordini, Eden (France), or Kashmir. There’s quite a bit of variation among the seven themes presented here, from quiet harpsichord passages to raging Moog solos.

The backside of Deux positions Dionne and Bregent firmly in the high energy, but melodic, fusion category – quite a ways from the dark, alien sounds of 'L’Eveil du Lieu' from the debut! Two tracks are presented here: 'Campus' and 'Transit Express' (could have they known about the excellent French fusion group of the same name?). Tangerine Dream circa Force Majeure would be another reference. Plenty of great soloing (Moog, Mellotron, Clavinet, vibes, xylophone), time signature changes, and complex songwriting.

Not surprisingly, the two bonus tracks are, once again, very different from anything else on display. Dionne performs a 13 minute solo percussion version of a 1959 Stockhausen composition, which has an academic "serious" modern classical feel about it. The final track is the 10.5 minute 'Fil de Terre', which apparently was recorded for a soundtrack. It’s a rock based affair, not too distant from the material on 'Campus', but again there's a twist, as this is considerably darker in tone with some nice violin soloing. No date is given, but sounds a bit earlier than the two albums proper. The duo themselves called their music Rock-Classico-Cosmique. That’s more accurate than anything I could think of!

Sadly Michel-Georges Bregent died in 1993. Bregent has other albums, most notably with his brother Jacques in the band with their surname, but his work with Vincent Dionne is unparalleled in its creativity.

Ownership: 2006 XXI-21 Productions (2xCD). Includes ...Et Le Troisième Jour in its entirety + two bonus tracks. Acquired in 2006.

11//06 (review); 12/27/18

Also own and need to revisit Et Le Troisième Jour.

12/28/18 (new entry)

Eloy ~ Germany

Ocean (1977)

As noted in the Planets review, Eloy had adopted a sound in the mid 70s and continued to progress upon it. Ocean is the second (or really third if we count Power & The Passion) that played in this style. Wish You Were Here-era Pink Floyd was certainly an album that had impact upon the German band, and some of the more spacey progressive bits owe to that album's atmosphere and mystique. It's very different from the dynamic Inside and Floating albums of yore. The album is a type of "easy listening" prog. It's not overly challenging but the tones and rhythms are pleasing to the ear. Klaus-Peter Matziol provides some memorable bass riffs, not an instrument we often hear take the lead, other than perhaps within the Zeuhl world.

Ocean is Eloy's most known work, and both RYM and ProgArchives proves this theorem. The latter takes it one step further and states it's their best album too, whereas RYM crowns Silent Cries and Mighty Echoes. For me personally, I find Ocean to fit perfectly in their late 70s repertoire, though it was never my favorite era of the band. My review of Inside lays out why.

Ownership:

1977 Harvest / Electrola (LP). Top loaded gatefold with lyrics and recording details in the center. Acquired in 2015.

First copy: 1989 EMI Electrola (CD). Acquired in 1989.

1989; 2/12/07; 3/24/26 (review) 

Planets (1981)

By 1981, Eloy's sound could be only be considered BIG. Wide open expansive music with fantastic bass and synthesizer chords. They'd been more or less working towards this album since 1976's Dawn, and had perfected the formula by the time of Planets. While the earlier Eloy albums such as Inside possessed both tricky time shifts and long solos, Planets is none of those things. But it's not plodding like Pink Floyd either. Overall a very pleasing music, strong on melody, and has a good groove. The type of sounds that you could draw new fans in given its lack of dissonance or avant garde techniques.

For whatever reason, even though I owned most of the Eloy albums by the time I left college in 1987, I never picked up Planets. In fact, I don't recall seeing it. I had the others on the label by then: Time To Turn, Performance, and Metromania. It wasn't until 2014 that I finally purchased the LP and heard for the first time.

Ownership: 1982 Heavy Metal Worldwide (LP). Textured single sleeve with lyric inner. Acquired in 2014.

2/27/14; 9/10/22 (review)

Silent Cries and Mighty Echoes (1979)

Eloy was one of Germany's most famous symphonic rock groups. They had a few phases, but their most popular was the era Silent Cries and Mighty Echoes was released in, when they were in full blown Pink Floyd mode. What I like about Eloy is their ability to provide space. This leads to the appreciation of the big, fat riffs that cascade throughout. The guitar and keyboard leads are profound, if not necessarily complicated or overly inspired. An easy band to enjoy on initial impact, I highly recommend Eloy to progressive rock fans who are looking for something new beyond the well-known bands. For old hands, as cynical as they may be, Eloy always manage to deliver as well. A very good album.

Ownership: 1979 Harvest (LP). Gatefold. Acquired in 1991.

11/11/91; 1996; 3/18/10 (review); 12/23/24

Inside (1973)

---8/19/06

Inside is Eloy’s second album and their first foray into progressive rock. This was one of my very first Continental European albums to own, and would have to consider it a strong influence on my personal preferences, especially upon initial discovery in the mid 1980s.

More overtly complex than most albums from Germany, and not really Krautrock in the traditional sense of the word. Blindfolded, and not knowing any better, I’d say Eloy - on Inside anyway - sounds more like an early 70s group from England. While vocal / guitarist Frank Bornemann is the clear leader of the band, the musical focus on Inside is squarely on the shoulders of organist Manfred Wieczorke. He carries most of the solos, as well as many of the melody lines. In fact, the organ virtuosity displayed here is some of the finest to ever be committed to a rock album (and that’s quite a statement!). In some ways, it almost seems they’re hiding Bornemann’s guitar playing. Without question he’s competent, especially during the composed melody runs, but does seem uneasy in the improvisational solo sections. Bornemann’s accented vocal style heavily resembles Ian Anderson, which I think leads to the frequent Jethro Tull comparisons Eloy gets tagged with (during this stage of their career at least). Also of note is the rhythm section of Fritz Randow and Wolfgang Stöcker, which is strikingly crisp and fiercely driving.

Side long opener ‘Land of No Body’ contains Manfred’s jaw dropping organ performance (both the atmospheric sections and in the ripping solos). Following this, the title track demonstrates the group’s complex compositional side. ‘Future City’ is Eloy at their most creative, with the musical emulation of a wind-up toy gone mad. ‘Up and Down’ is more in line with what other Germanic groups were doing at the time, recalling the haunting work of Paternoster or the more inward looking songs by Twenty Sixty Six and Then, My Solid Ground, or Murphy Blend. Interesting to note that Wieczorke took on the vocal duties here, and his heavy German accent gives it a completely different feel than Bornemann’s more refined (yet still accented) English. Without a doubt, this is a Hall of Fame album, and one of the finest German symphonic rock albums ever made.

---7/21/24

Interesting to research my notes and journals to realize I haven't heard this album since my Gnosis review in 2006, nearly a full 18 years ago. I entered this early on into the UMR because I had a full review, but didn't hear it then either. My tastes have not changed at all regarding this album, and my perspective remains as above. Other than a few word and grammar changes, the review below continues to hold court for me

Ownership: 1973 Harvest / Electrola (LP). Uni-pak gatefold. First pressing. Acquired in 1986.

1/6/86; 8/19/06 (review); 7/21/24 (update)

Other albums I own and need to review: Eloy (1971); Floating; Power and the Passion; Dawn; Colours; Time to Turn; Performance

Formerly owned: Metromania (which I wouldn't mind hearing again, it's been many years); Live

6/21/09 (new entry)

Bizarre Ko.Ko.Ko. ~ Austria

00 Time (1984)

---1/21/11

Regular readers of the CDRWL know that I'm quite fond of the Berlin School of sequencer based electronic music. And that's where Bizarre Ko.Ko.Ko. fits in perfectly. In fact, this is version 2.0 of Cultural Noise, an LP from my collection that I fawned over way back when. This isn't that dissimilar from Cultural Noise, though it's clearly moving away from the Tangerine Dream influence, and adding an overall darker mood. Mellotron, sequencers, and guitar are all present, especially early on. It begins to deconstruct towards the end, making it sound more like an early Klaus Schulze effort (think Cyborg). Really a fine effort and a must hear for EM fans.

---3/16/26

That was the original CDRWL entry, penned after acquiring the LP. This is my first revisit since and I'll add it here to UMR.

One can't talk about Bizarre Ko.Ko.Ko. (would like to know the reasoning behind that moniker) without referencing Cultural Noise. And that's because they are 2/3rds of the same band. Looks like it was Gerhard Lisy who sat this one out. The crazy titles stayed in place as well, with 'Retracting The Reflected Consciousness Of All Having Come To Into Being' taking first prize. And look at that cover. What the hell were these guys into? Alien insanity, that's what. If curious, the cover was done by one of the two members of the band: Walter Heinisch. Clearly Hans Rudolf Giger was an influence here.

Musically these guys were still entrenched into the analog 70s. No hints of 1984 here. This isn't their "Poland" or "Drive Inn" album, that's for sure. Some very inventive sequences can be heard, especially on B1. I referred to B2 as deconstruction, but there's plenty of sequencing there too.  

Ownership: 1984 Synoptik (LP). Acquired in 2011.

No CD reissues as of 3/16/26. Has been reissued on LP.

1/21/11 (review); 3/16/26 (update / new entry)

Gargantua ~ Poland

Gargantua (2003)

---2004

This album didn't meet my expectations as they were set to believe a Magma, King Crimson, and Gentle Giant combination. Naturally I took that to mean Mekanik meets Red meets Power & The Glory. But it could also mean Uppsala meets Discipline (still don’t hear any Gentle Giant I’m afraid). Modern sounding, very jazzy in the piano, digital-80’s style synths, clean and distorted guitar runs. Their sound sometimes reminds me of the new French group Nil, but in a different genre altogether. Expectations are funny, but now that I have my head around this, I’m enjoying it a lot more. Jazzy Zeuhl with Crimson moves. Something very different than anything else overall.

---3/16/26
 

There's these albums in my collection that I have zero recollection of. Gargantua's debut is one of those. Fortunately I have prior notes like the above. Despite a UMR era listen, I didn't enter the album into this site then. So I'll do that now. What does this third listen reveal?

Well it definitely belongs to the avant prog genre. Charted counterpoint rock music is how I hear and envision it. While we don't hear this sound so much from Poland, we do from neighboring Czech Republic. And I think that's where our signposts are: Uz Jsme Doma, Combo FH, MCH Band, Aku Aku, Dunaj, etc... The Polish vocals are a unique twist. The Zeuhl reference is real in that Univers Zero sort of way. And the guitars can get violent like Present does on occasion.

When the music is over, you begin to realize you've experienced something highly unique. None of the contents are groundbreaking, yet the way it's arranged and presented is just that. Groundbreaking. This is one of those albums I'm really glad to own, but if someone offered me something else like it, I'd probably take a pass. Strange, and perhaps illogical, that mindset is. But that's how I feel. One is enough, I submit.

Ownership: 2003 Ars Mundi (CD). Booklet with lyrics in Polish plus recording details. Acquired in 2004.

2004 (review); 6/20/17; 3/16/26 (update)

Gargantua went on to release one more album which I've yet to hear.

3/16/26 (new entry)

Sensations' Fix / Franco Falsini ~ Italy

Sensation's Fix (1974)

---5/12/07

I didn't know until recently that Sensations' Fix even had a self-titled debut album. Apparently it was only a promo and not sold through stores (ED: I was later to find out it was a sound library album), despite sporting a unique cover. It's a little more underproduced than their later material, but it unmistakably has the Sensations' Fix space rock sound. Much of the material represents earlier versions of songs that would show up later on Fragments of Light though some of the material is entirely unique to this release. 

---3/16/26

A few years after those notes, Universal released the 6th volume of their Progressive Italia series. And today, I'm hearing the album for the first time in 15 years from that same CD. Such an interesting album really. While generally regarded as their debut, this is probably true from a chronological recording data standpoint. Fragments of Light had been released by Polydor in 1974, though it remains unclear if this sound library album was sent to stations before or after that fact (note the misspelled group name). Consider that Portable Madness was also released in 1974, there's only so much time in a year. Musically this sounds like a raw demo. The kind of album that a metal band would release on cassette before maybe hitting the big time with an LP contract. Which certainly doesn't make it a bad album. One can already hear the great ideas Falsini had in his head, and his guitar playing is as soulful as ever. The sound is demo quality for certain. Hollow and thuddy. Part of the charm I think. The CD is taken from vinyl, so it's difficult to know how the original tapes may have sounded. And the odds of me obtaining the original LP are slim, especially since it was never for sale in Italy, much less here in the US.

Speaking of which, all these years later, and the reissues of Sensations' Fix remain an embarrassment. If there was ever a group who needed professional treatment, it's these guys. A box set of carefully mastered tapes would be amazing. Do those tapes even exist? Who knows. Only the Falsini anthology Music is Painting in the Air gives us any clue of what the possibilities may be.

Ownership: 2010 Universal (as part of the 6 CD box set Progressive Italia Gli Anni '70 Vol. 6). Acquired in 2011.

5/12/07 (notes); 2/5/11; 3/16/26 (update)

 

Franco Falsini - Cold Nose (1975)

Franco Falsini's only solo album takes in one part Manuel Gottsching, one part Richard Pinhas, and three parts of the outer galaxy he apparently emigrated from. Analog wedgy electronics, and thick oozing heavy guitar shards define the sound palette, whereas the melodies are pulled from his own Sensations' Fix cookbook - you'll hear plenty of snippets from Fragments of Light and Portable Madness within. I would love to see the movie that was inside of Falsini's mind during this recording. Essential head space music.

Ownership: 

1975 Polydor Special (LP). Acquired in 1989.

2010 Universal (as part of the 6 CD box set Progressive Italia Gli Anni '70 Vol. 6). Acquired in 2011.

1989; 2/5/11; 11/21/17; 5/25/18 (review)

Portable Madness (1974)

And here we have... the single greatest space rock album of all time!

No small claim that. Not an irreverent throw out to grab one's attention. Not an epiphany on the 4th beer. No - this is pretty much where I've stood for the 26 years I've owned the album. Last night it comes up again, and reminds me that it is, indeed, the single greatest space rock album of all time. Of course, not everyone will agree with that, and probably the it's overrated crowd will be along here any minute.

Twisty, turny, kinetic, psychedelic, jumpy, murky, primordial, psychotic, and melodic are just a few adjectives that come to mind here. The opening two numbers are great enough, but once 'Phase One and Phase Two' starts spinning in multiple directions, you are sucked into the vortex of another world and dimension. If this doesn't happen to you, then stop surfing the net, watching TV, texting on Facebook with a Russian hooker, or vacuuming the rug. Start from the beginning and pay close attention. OK you there now? Good, so now by the time you get to 'Pasty Day Resistance', you have reached what I consider the single greatest space rock track of all time. There's more twists and turns on this five and half minute track then I've heard on full double albums. 'Leave My Chemistry Alone' will finally polish you off, and presumably you're in a cold sweat by now. The album closes with two relatively sane compositions, and tries to return you to Earth, but doesn't quite get there. You are lost forever.

The fuzzy photograph on the front cover, taken in the same spirit as Big Foot and the Loch Ness Monster, tells you all you need to know about its provenance. This can't be Italian - nor German as it may seem - but something from another galaxy.

Ownership: 

1974 Polydor (LP). Textured single sleeve. Acquired in 1991.

CD: 2009 Universal (as part of Progressive Italia Gli Anni '70 Vol. 1 - The Universal Music Collection). Acquired in 2009.

1991; 5/28/09; 9/19/12; 10/27/17 (review)

Also own and need to review: Fragments of Light; Finest Finger; Boxes Paradise; Music Is Painting In The Air

10/27/17 (new entry)

Diagonal ~ England

Diagonal 4 (2021)

As noted recently for the newest Jordsjo, Viima, and Hooffoot albums, I took a lengthy break from buying retro prog albums. God knows I already have enough of the real thing from the 70s, plus just about every newer act since the 1990s playing similar. As with those three bands, Diagonal were a favorite, and it was only a matter of time before I got back on the saddle of the 1970's progressive rock horse. I skipped over their 3rd album, which received mixed reviews, though I'm betting I'd enjoy it. Perhaps I'll acquire it some day too. In any case, I've revisited both Diagonal albums in recent years, much to my continued satisfaction. And my reviews stayed static, meaning I captured properly what I heard initially. Let's see if there newest one ignites my imagination in a similar fashion.

Right away they start off with the psychedelic guitar, which is always a plus in my book. Melodic sax enters, and we are back into the 1971 English landscape. As noted below, Diagonal do not play in the tradition of the English prog bands that made it big in America. But rather those that played the UK club circuit to reasonable success, before hanging it up or changing their sound dramatically. When talking retro prog, Diagonal is about the only band that tread down this path. One whose trail still needs clearing. After hearing the album in full, I'd declare the opening two tracks as the winners of the bunch, as they are more representative of their trademark sound.

While Diagonal has always put out LP length albums, this one is on the short side. Ironic then, that on 4, the band stretches out more into languid guitar based jams. There's less kinetic changes here, and leans in towards space rock, a twist that begins to reveal itself about halfway through. With that in mind, I don't think Diagonal was able to scale up on their first two albums. At least from my point of view, though one can hardly blame a band for trekking a new path forward. I'm sure repeated listens will enlighten me further. A well done album, though I'm not sure if I'm willing to say it's essential. At least yet. ProgArchives, for their part, rates it Diagonal's highest with the caveat it also has the least amount of ratings.

Ownership: 2021 Cobblers (CD). Digipak with lyrics and recording info. Acquired in 2026.

3/16/26 (review)

 

The Second Mechanism (2012)

If the debut laid down the premise that Diagonal were to be the retro progressive rock band to be reckoned with, then The Second Mechanism fulfills that conclusion. Perhaps more studied than their first opus, with even more twists and turns to keep the modern short-attention-spanned listener completely enthralled - ironic given Diagonal's 1971 disposition. But such was the state of that era - and ours. Diagonal are a band that have gone from great to greater, and I can only imagine what they will come up with next. Let's hope the group continues to explore these paths that were not as tread upon as many people might initially presume. Diagonal are walking the little known side trails from the main highway. And there are many aural treasures to be found.

Ownership: 2012 Metal Blade (CD). Digifile. Acquired in 2013.

1/29/13 (review); 10/11/23

Diagonal (2008)

Diagonal are the first modern UK band, that I know of anyway, to truly capture the essence, atmosphere, and sound of the original progressive rock movement from 1970-1971 England. Many groups have come along and tried their hand at generating the sound of Yes, Genesis, ELP, Gentle Giant, Jethro Tull, Pink Floyd, Renaissance, King Crimson, and Van der Graaf Generator. And while all of those groups are worthy of imitation, they only represented a fraction of the original UK movement. Of course, they were the ones that made the big time, so it's more than understandable how they attracted more admirers than others. But Diagonal has clearly absorbed the record collections of the deep divers - in particular the Neon, Dawn, Transatlantic, Vertigo, and Deram labels and their stable of bands. With Diagonal you'll hear references to bands such as Cressida, Samurai, Raw Material, T2, Beggar's Opera, Gravy Train, Spring, Clear Blue Sky, Diabolus, East of Eden, and Indian Summer. But here's the most important part to understand: They have absorbed the influence, not copy it. And so you get an entirely new album within a familiar context. And because the band has clearly studied this era in depth, not to mention incorporating the period instrumentation (mellotron, Hammond organ, Fender Rhodes, fuzz bass/guitar, sax), they are able to create an extract of the genre. What that means for us modern buyers is an enhanced product - perhaps even exaggerated. For my tastes, Diagonal have created the perfect retro progressive rock album. An album to be held up as an example of how to do it right. If you're a student of the genre, then let Diagonal be your teacher.

Ownership: 2008 Rise Above (CD). Slipcase. Acquired in 2009.

2009; 1/20/11 (review); 4/21/18

1/20/11 (new entry)