2026 Revisits of prior UMR entries Vol. 11

Tusmorke - Underjordisk Tusmorke

Love Cry Want (1972)

I Califfi - Fiore di Metallo

The Bridge - Overdrive

Gabor Szabo - Live With Charles Lloyd

Mediterranea - Ecce Rock

The Next World - Symphonic Rock

Acintya - La Cité des Dieux Oubliés

Charisma - Beasts and Fiends

Mahoujin - Babylonia Suite

Hoelderlin ~ Germany

Hoelderlin (1975)

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

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

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

Rare Birds (1977)

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

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

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

Clowns & Clouds (1976)

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

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

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

Also own: Holderlins Traum; Live Traumstadt

5/8/12 (new entry)

Steve Hillage ~ England

L (1976)

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

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

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

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

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

Fish Rising (1975)

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

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

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

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

1992; 12/27/21 (review)

Other albums I own: Green

Previously owned: Live Herald; Rainbow Dome Musick

12/27/21 (new entry)

First Aid ~ England

Nostradamus (1977)

---2/9/11

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

---9/29/26

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

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

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

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

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

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

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

9/29/26 (new entry)

2026 Fusion / Jazz Journal Vol. 5

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

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

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

* - Keeping for the collection.

Nektar ~ England

Remember the Future (1973)

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

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

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

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

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

 

Recycled (1975)

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

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

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

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

Journey to the Centre of the Eye (1971)  

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

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

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

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

Down to Earth (1974)

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

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

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

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

Man in the Moon (1980)

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

Source: 2006 WHD (CD). Papersleeve edition.

5/17/16 (review)

Magic is a Child (1977)

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

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

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

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

12/6/15 (review)

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

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

12/6/15 (new entry)

Catharsis ~ France

Et S'aimer et Mourir (1976)

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

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

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

Catharsis / Volume II "Les Chevrons" (1972)

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

Ownership: 

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

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

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

Vol. 4: Illuminations (1972)

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

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

1996; 11/18/20 (review)

Catharsis / Masq (1971)

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

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

First acquired the LP in 1993.

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

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

Other albums I own: Le Bolero du Veau des Dames

9/1/19 (new entry)

2026 Revisits of prior UMR entries Vol. 10

Solis Lacus (1975)

Tale Cue - Voices Beyond My Curtain

Klaus Schulze - Inter*Face

Era di Acquario - Antologia

Wobbler - Afterglow

Agusa (2017)

Homunculus Res - Come si Diventa Cio che si Era

Duello Madre (1973)

Madder Lake - Stillpoint

Het Pandorra Ensemble III (1978)

Yngwie Malmsteen ~ Sweden

Fire & Ice (1992)

From the below review: "Having said all this, I never did hear anything else by him. I'll probably grab some CDs out of a thrift shop next time I see them just to satiate my curiosity." I did just that, more to come. And this cassette, which I pulled out of a thrift store early this year in New Albany, Mississippi of all places. Since it's a cassette, it was already on Side 2, so I'll start there. I have a feeling that all of these Malmsteen albums will run into each other. He'll do some show-offy guitar solos followed by some power metal tracks, acoustic interludes, with obligatory synth backdrop. That means I'll need to keep my ears tuned for that one great song, if such a thing occurs. There's 14 tracks here, it's going to be a slog I think. Lot of Neoclassical 101 here. And after consuming its contents, average seems about the right rating. A lot of talent here that needs direction.

1992 Elektra (MC)

9/24/26 (review)

Rising Force (1984)

When Yngwie Malmsteen burst onto the scene with the California band Steeler (an album I bought real time in 1983), he clearly had established a new medium. That of the shredder. The super fast soloist. Essentially Malmsteen was to heavy metal what Al Di Meola was to jazz fusion. And God was that the most tiring and dull discussion of my college years. Who's the fastest - and the greatest - guitarist. I talk about that in detail on Di Meola's Elegant Gypsy posting. Unfortunately that aspect takes away from some actual decent songwriting from Malmsteen (as it does for Di Meola). This isn't all shred. Sure he shows off here and there, but there's some good power metal tracks present that makes it a keeper. I'm saying that having owned it for 37+ years now, though this listen did not result in a nostalgia bump. I remain objective on this title. If you haven't heard the album, carve out the time and give it a chance. Having said all this, I never did hear anything else by him. I'll probably grab some CDs out of a thrift shop next time I see them just to satiate my curiosity.

Ownership: 1984 Polydor USA (LP). I even have the sales sticker like the Discogs' stock photo shows. Acquired in 1985.

1985; 1/5/23 (review)

Also own: Marching Out; Trilogy

1/5/23 (new entry) 

Pink Floyd (& related) ~ England

Many consider Pink Floyd the greatest band of all time, and Dark Side of the Moon the greatest album of all time. I don't agree with either assessment (though I own three copies of the album in question) but it's not hard to understand why both of these remain true. Pink Floyd are not an easy band to pigeonhole, and they went through various incarnations of sound and style. Some I love, others I find incredibly dull and boring. I've heard most of their output, including various solo albums. But I haven't documented them all (by a long shot). This post will be updated and forwarded many times before I'm done.

David Gilmour (1978)

It feels odd listening to this album for the first time on cassette. Strangely that's the only way I've found it in the wilds. No CD or LP. I'm talking thrifting and garage saling here. I have plenty of opportunities to overpay at a record store, believe me. This album came out when I started listening to FM radio intently, so I have to say it seems like I've heard most of it before. But it's been ages. The album is largely derivative of the Pink Floyd sound of the era. One can hear Dark Side, Animals, and The Wall in these grooves. Gilmour has always had a bluesy bent to his guitar playing, and that remains the highlight of this album as well, especially the opening instrumental, B2, and B4. The songs tend to drag, even the much heralded 'There's No Way Out of Here', a track they played every hour back in the late 70s.

1978 Columbia (MC)

9/24/26 (review)

Richard Wright - Wet Dream (1978)

In the not-so-distant past yours truly ran a global project management organization. One of my employees was a good PM as an individual, but not a great one. I had to step in on occasion to handle escalations, and there were even calls for me to let her go. I said "no way" as she's a major key to my team's success, even though I had many better PM's, no question about it. They were bewildered by that observation. What she lacked as an individual contributor she more than made up for as a team player. I saw her as a key pillar of why we were successful. Her peers loved and respected her. She is who made the team - a team. And she was 100% supportive of my initiatives even if she struggled to implement them herself. Not for a lack of trying, we're all different. That's how I see Richard Wright. I feel the same way about George Harrison of the Beatles and Led Zep's John Paul Jones. As individuals they're good players and decent songwriters. As part of the larger collective they were the secret sauce. What makes a good music group great is the input of everyone, not just the leaders. And that applies to business as well. So that's my take on Wet Dream. It's a fine, slightly mellow, mostly instrumental album. Nothing special but certainly not a disaster. Wright is a team player not a solo star.

1978 Columbia (LP)

4/8/25 (review)

The Division Bell (1994)

I've clearly avoided writing about any of the Floyd albums post The Wall (and including that album which I don't like). I'll try to make a concerted effort to get down a few words at the very least going forward. One wonders what the point of superstars like Pink Floyd putting albums out like The Division Bell? It's not a terrible album by any means, but it's just so... so... ordinary. Gilmour gets in some nice bluesy licks, and Mason is mailing it in on the drum kit. He was never a jazzer, but c'mon, I could play drums on this album. And I don't how to. There's some smooth jazz, and more than a few references to Dark Side of the Moon, trying to capture a moment in time from 20 years prior. 30 years on from that, it just looks like a desperate writer turning out the same scripts from their blockbuster New York Times Bestseller from the 70s. Boring and unnecessary.

1994 Columbia (CD)

2/26/25 (review)

Obscured by Clouds (1972)

The last of the classic Pink Floyd albums for me to reacquire. And the first back out the door. I thought I liked this one more than I do. Atmospheric, but ultimately dull effort. I think had it been totally instrumental psych I'd be more enamored with it (and there is some of that). Maybe if I find a cheap cassette or CD I'll hold onto it, but I'll take the money for the LP. 

---1/26/26

I did find it on CD, but it did not change my opinion. I did notice that elements of Dark Side of the Moon were becoming apparent on Obscured by Clouds. In that way, the album is historically significant.

1972 Harvest (LP)

8/13/24 (review)
 

The Piper at the Gates of Dawn (1967) 

Famous psychedelic album from the creative mind of Syd Barrett. Sort of random in its songwriting approach, it is just that quality that makes this album special. Clearly (ironically) it came from an addled mind. Bizarre and completely out of left field for 1967. Pink Floyd never really sounded like this again once the remainder of the brain trust took over, though there are elements on Saucerful of Secrets. One of a kind.

Ownership: Columbia / EMI Germany (LP). 70s pressing. Acquired in 2022.

First copy owned: A Nice Pair 1983 Capitol (2xLP). Acquired in 1985.

1985; 7/21/23 (review)  

Wish You Were Here (1975)

I knew I had this album rated too high. And sure enough a -1 ensued, putting it right into the Gnosis 11 category. Not first division for me. But I have to say that Richard Wright's synthesizer performance here almost pulled it over the threshold anyway. He really should have spent some time with Klaus Schulze. Who knows what he would have conjured up if he had. 'Welcome to the Machine' still captures my imagination though - a brilliant track. Even with this critique, I'd offer that this album is my favorite Floyd except for album #1 of Ummagumma. A very important release by a band that were selling out arenas and were incessantly played on the radio. Not a commercial album at all, and yet they managed to make it one. Impressive.

Ownership: 

2011 Harvest (LP). Outer bag packaging, and all sorts of other goodies like posters and postcards. Much better than my original 80s commodity LP that's for sure. Acquired in 2011.

2000 Capitol (CD)

First copy owned: 1980 Columbia (LP). Acquired in 1985.

1985; 2/15/23 (review)

Ummagumma (1969)

If there's a single source that one could point to as the origin of cosmic Krautrock, I think Ummagumma may very well be that album. Along with their Dutch counterparts Group 1850 - and a shoutout to Frank Zappa's Hot Rats and Iron Butterfly's In-A-Gadda-Da-Vida - you can hear the sounds that Germany took and ran with in their earliest days, especially the bands circling the Ohr label. Depending on one's view, Ummagumma is a live album with bonus tracks - or one cohesive album with a completely different focus for each disc. I think it's best to take the former approach, and it's the live album that is significant here.

There are very few albums that possess two bona fide monster tracks, but here we have what I consider the definitive versions of both 'Careful With That Axe, Eugene' and 'Set the Controls for the Heart of the Sun'. The former is a textbook example of how to build a solemn mood and then absolutely destroy it with one of the most intense climaxes in history. 'Set the Controls...' is about as trippy a number as you can find on any album, anywhere. If Pink Floyd were some obscure group that few had heard about, and these numbers were played back for the first time, it would be a natural reaction to think it was German made. 'Saucerful of Secrets' is no different from an atmosphere perspective, and in fact one could point to none other than Ash Ra Tempel's Schwingungen side longer as but one follower. The opening track is 'Astronomy Domine', the Syd Barrett composition that makes one wonder what direction would have the Floyd gone with him still at the helm.

The other album could best be described as "guys dickin' around in the studio". Which is not to say the album is worthless, as there's some good moments to be found from all four. They would have been better served to distill the best parts (if they would even know what those were) and disperse it evenly around the album. Similar to what Yes did on Fragile a few years later. Because it's separate like this, and the very nature of the type of music being presented, this is why I think it's best to view them as bonus material versus a part of the main album. Otherwise my score would be lower in aggregate.

Ownership: 

1986 EMI / Harvest Germany (2xCD). Fatbox. One of the first LPs I replaced with a CD, and even today, that decision makes total sense to me. Some albums were meant to be on CD, and this is one of them. I reacquired the LP later just because.

Harvest (2xLP). 70s pressing. Gatefold. Reacquired in 2019. First acquired in 1985.

1985; 8/7/22 (review)

Animals (1977)

I'm not sure I've heard this album since the late 1980s, even though I've consistently owned a copy that whole time. For me this is the end of the Pink Floyd I enjoy. I never could stand The Wall, an album I've had a chance to revisit in the last three years. I'll never understand its allure beyond a couple of good tracks. Animals, however, is their final non commercial stance. Not to play on titles here, but it's also dog slow. This is music to kick back, turn down the lights, and absorb. It misses the dynamism of its predecessor, and is not an immediately likeable album. Which I believe is the point. Gilmour gets a chance to really shine here, and taps into his late 60s blues repertoire. It's one of a kind in their discography. Even though it's been 30+ years since I last heard it, I felt like I knew the contents anyway. And the rating of excellent remains unchanged. Love the industrial Britain gatefold cover with the flying pig. It's wall worthy really.

Ownership: 

Columbia (LP). Gatefold. 80's pressing with barcode. Upgraded in 2024. First copy acquired in 1985.

1995 Columbia (CD). Acquired in 1996.

1985; 1996; 1/21/22 (review)

Meddle (1971)

Well, you all know this album. Features two excellent proggy space rock numbers in 'One of These Days' (the only song from this album, incidentally, you would have heard on the radio back in the day) and 'Echoes'. And then there's four rather boring folk rock tracks sandwiched in between. These are far more prosaic and backporch-y than the mystical dazed folk of More, for example. They're definitely no longer a psych band by this time. I particularly enjoy the second movement (as it were) of 'Echoes' with its excellent organ and guitar jam. The interesting aspect of this album is just how ordinary it is for 1971. No doubt that Pink Floyd were major influencers throughout the 60s. But on Meddle, they seem to be followers. There's many more examples of music like this from 1970 and '71 that is much more interesting. And this blog is full of them. After this, it seemed Pink Floyd realized this situation as well, and went about making Dark Side of The Moon. I'm not really a fan of the latter, but it's hard to argue that it wasn't groundbreaking. They were leaders once again.

Ownership: 

1986 Capitol (CD). In the summer of 1986, I was working as a summer intern at a major US government military defense contractor in the Dallas area. It was a great gig, and I was very lucky to get it. I had mediocre grades (electrical engineering, to be fair...) and not much else going for me. But a very close buddy of mine's dad was one of the four owners of the company (see Al Di Meola's Elegant Gypsy post for more about this friend). Yes, it's true, it's who you know... In any case, I did thrive at the job, and was making serious money for a 21 year old intern. So what does a 21 year old dude in 1986 with money do? He buys him a new stereo, that's what! With a CD player! Wow - I was rich. We forget now how expensive CD players - and CDs - were at the time. Of course since I bought a new player, I needed product to go with it. There was a limited selection of CDs at the time. And, of course, there's no way I'm buying a CD of something I already have on LP. Meddle was one of the few Pink Floyd albums I didn't have at the time. So... it was the first CD I ever owned! In fact, it's so old, it has a smooth jewel case with no ridges. Those have become collectible now too, of all things. 

7//86 (CD acquired); 8/28/21 (review)

The Early Tours '70-'71

Title is a misnomer, as apparently the music here was all taken from one concert in Amsterdam on June 26, 1971. This is certainly prime Pink Floyd, though it only includes the music they were doing in 1969. I have to trust that the source credit is correct (from Discogs - and I'm sure other established bootleg sites). The titles don't actually reflect the songs here, but most of this is on the live side of Ummagumma, which is my favorite of all the Floyd albums (just disc 1 mind you). The other tracks are an extended version of 'Cymbaline' from More, a track that otherwise I was not familiar with. Its placement here is perfect though. And finally 'Embryo', a track that you find almost exclusively on live bootlegs. It too has the perfect "Cosmic Krautrock" sound - I say that in deference to Pink Floyd being probably the most influential of all bands for that scene. 

Ownership: 1976 Space (LP). Acquired in 2021.

7/7/21 (review)

More (1969)

This is Pink Floyd at their druggy drifty best. This is the sound that Dom perfected on Edge of Time. I'd heard this album back in the day, but I was way too impatient for music such as this back then. I find side 2 the better of the sides, as it really captures the ethos of the times. Mostly acoustic guitar, tribal drums, and low-fi keyboards, with sparse vocals and the occasional rockin' burst. Love the trippy image windmill cover.

Ownership: 

1973 Harvest (LP). Acquired in 2026.

Capitol (CD). Acquired in 2025.

7/13/21 (acquired / review)

Relics (1971)

I've never owned Relics before, and my memory had this as a compilation. Which is true, but not a typical one. Today you can get most of these on a more modern CD reissue, but I don't have them, so this worked out perfectly. Relics is for fans of 60s Pink Floyd, and that's my favorite era of the band. Five of the 11 tracks are on studio albums, and the others come from rare singles and comps. Just having the studio version of 'Careful with That Axe, Eugene' makes it worth keeping, and the other tracks are great as well.

Ownership: Sounds Superb Belgium (LP). Acquired in 2021.

6/20/21 (review)

Albums I own: A Saucerful of Secrets; Atom Heart Mother; The Dark Side of the Moon; A Momentary Lapse of Reason; two different multi-disc bootlegs

Other albums previously owned: The Wall; The Final Cut; Delicate Sound of Thunder

8/28/21 (new entry)

Steve Roach ~ USA ~ Tucson, Arizona

Artifacts (1994)

Steve Roach has had an incredibly prolific career, releasing 100's of albums (Discogs lists a total of 257, which is insane). Today, he's essentially doing the Release-Of-The-Month circuit. It wasn't always this rapid, though already by the end of 1994, Roach had an impressive 19 albums under his belt. I've never heard a bad album from Roach, but with such a huge catalog to choose from, I find myself having to be very discerning. An artist can continue to recreate themselves, but they have a brand as it were. That driving muse, which colors an artist's work. No one can escape that because that is what makes them who they are! 

Artifacts catches Roach mixing his two passions. One is of the desert and the native instruments that define the landscape. The other is electronics, almost the polar opposite from a technology perspective. So you get didgeridoos integrating with Korg's, Yamaha's, and Akai's. Artifacts came along in the era of the CD where many artists felt compelled to fill the entire disc. 77 minutes is a lot to absorb for this kind of thing. 

It would be easy to keep them all, but it's not practical. I intend on picking up every single one of Roach's albums that I see in the wilds (this was a thrift shop find). Whether I choose to hear it once or multiple times will be case by case. And if fate puts me and Artifacts back together, I will re-engage. Perhaps I will come to a different conclusion (or not).

1994 Fortuna (CD). Rough paper booklet with philosophical meanderings and recording details.

9/23/26 (review) 
 

Robert Rich / Steve Roach - Strata (1990)

Another thrift shop find. No surprises from two veterans of the ambient scene. Rich brings the percussive elements while Stearns is the master of sleepy electronics. Hit play and doze into dreamland. I can see where cassettes are a good format for this kind of music. Flipping the cassette is the effort needed to get through it all.

1990 Hearts of Space (MC)

9/6/24 (review)

Michael Shrieve / Steve Roach - The Leaving Time (1988)

Picked this one up for a dollar at the Austin Record Show. The sterilized sound from the beginning is a bit off-putting. However it gets more interesting as it goes, and David Torn's guitar is perfect for recordings such as this. Plenty of sequencers as well. Michael Shrieve was on a world tour joining famous synthesists in the 80s apparently. Holding onto this one.

Ownership: 1988 Novus (LP). Acquired in 2023.

8/16/23 (review)   

Empetus (1986)

Arguably this is Steve Roach's definitive Berlin School album before moving on to more ambient realms. There are plenty of inventive sequences that owe some debt to Schmoelling-era Tangerine Dream, but for the most part he retains a completely original sound. Focus is on structure rather than solos. I have way too many Berlin School albums as it is, but this one remains.

Ownership: 1986 Fortuna (CD). Acquired in 2005.

4//05; 9//05; 11/18/20 (review)

Also own: Dreamtime Return; Structures From Silence

Previously owned: Traveler; Now; Soma; Groove Immersion

11/18/20 (new entry)

Chango ~ USA ~ New York City, New York

Honey Is Sweeter Than Blood (1976)

I don't think I've heard this album since first acquiring it some 25 years ago. After scoring a copy off of ebay, I was fully expecting to be blown away. And disappointment ensued. Primarily because it wasn't the fiery platter that the debut was, and that's what I expected. Since that time, I've really fallen for the Latin Rock style of songwriting. And honestly, that's the secret sauce of the 1975 Chango album. The intense jams are just icing on the cake. At this point, the band is largely a solo project of lead singer "Peppy" Gomez with some returning members. What's missing is a full time organist, and of course, the shredding guitar of George Tacktitos. Though second guitarist Charles Rook does a splendid job here as well. There's more of a Malo influence this go round, a band I was mostly unfamiliar with in 2001. Much better than my memory had it, though have to set the proper expectation that they've moved on from the early Santana sound (which was wonderfully out-of-date anyway) and onto more Latin soul styled numbers. There's still plenty of hard rock here too, for fans of the genre.

Ownership: 1976 Mercury (LP). Lyric insert. Acquired in 2001.

2001; 9/22/26 (review)
 

Chango (1975)

Imagine yourself walking the barrios in Queens, New York circa 1975. Bums, pushers, hookers, street musicians, and the smell of tortas vendors. You see a small club, it has a name like Enrique's Hell Hole. You venture in cautiously. Torches are lit high, as you tiptoe over the junkies, and tactfully avoid the needles scattered about the floor. You watch as on stage there are six seriously fried dudes. Each cranking out some of the most intense music to have ever been performed on these Atlantic Yankee shores. Two percussionists and a drummer drive the speedy pulse, whilst organ, bass, and guitar all roar, slash, and sing. This is all Chango's first album and for anyone who likes the early Santana vibe, then you are in for a treat, because Chango tread a new path right at the point where Santana went fusion. This is the ultimate culmination of all the best Carlos could muster. A high water mark for heavy Latin groove rock. The album has it all: The screaming Santana guitar sustain fuzz chops; The swirling Hammond organ; The speed-freak-machismo lead singer that all the messed up chicks were somehow swooning for. And, of course, those dance-able rhythms that even this uptight white guy might make note of. The lyrics are exactly what you want from this kind of album: Sex, life-in-the-ghetto, grade-school mysticism - and well....... sex.

Right off the bat, you are pulverized with 'Fire Over Water' followed by the eight minute 'Walk on Hell'. Really, do I need to describe these tracks? Put the environment, instrumentation, song titles, and influences together and you've got an aural vision. Many of the songs are catchy too - you'll be humming them for days. 'Caminando', 'Solid Karma', and especially 'Mira Pa Ca' just have killer melodies. But where Chango excels most is with the instrumentals like the pounding 'Bollo' and 'Bembe', plus the beautiful 'Sacapa'. But the best is possibly saved for last. The nine minute title track combines relentless energy, tuneful melodies, and fiery instrumental playing. It's all very awe-inspiring. Careful though, as you may find yourself in a big heap afterward.

How this album missed the big time is somewhat of a mystery to me. Being that it was released in 1975, perhaps it was too late for the early Santana sound. I'm also guessing that ABC records, not known for their music marketing muscle, had no idea how to promote it. There are very few albums that contain this kind of energy and instrumental virtuosity. And then combines that with a strong melodic sense. A true masterpiece and one of underground America's most proud moments.

Ownership: 

1975 ABC promo (LP). Gatefold. Acquired in 1993.

2000 Akarma (CD). Papersleeve edition. This version has been declared unofficial by band leader Pepe Gomez. Acquired in 2000.

No legit reissues for either as I update this post (9/22/26).

1993; 2000; 8/21/01 (review); 12//04; 5/15/06; 8/4/07; 10/18/16

6/20/09 (new entry)

Hyjinx ~ USA ~ Oklahoma City, Oklahoma

Hyjinx (1982)

Wow! Wasn't this a pleasant surprise? From Oklahoma City, Hyjinx weren't your garden variety early 80s hard rock band. This is more in line with albums like Message (NM), Legend (CT), second album Granmax, and UHF. The opening two tracks are energetic with fast guitar solos, leading one to believe there's some Van Halen influence. A3 is a full blown proggy hard rock number complete with Taurus Pedals and keyboards. The vocalist is female, and yea, you will definitely be thinking classic Rush here. Long spaces are allocated to psychedelic styled guitar solos over the rhythm section.

Side 2 is slightly off the pace though still excellent. 'Greensleeves' is not a hard rock rendition of the traditional song, fortunately. Though a curious title for sure. B3 has riffing very similar to late 70s Judas Priest. Maggie Fagan's vocals are confident and powerful. She clearly could have been a headliner. The album closer is another nod to progressive rock. Starting in acoustic ballad mode, the music shifts to hard rock with some spiritual guitar soloing. 

Too bad these are the only recordings the band released, that we know of anyway. They had real talent. 

Not reissued in any format as 9/10/26.

Ownership: 1982 Packrat (LP). Acquired in 2026.

9/10/26 (review / new entry)

2026 Electronic Journal Vol. 1

John Huling - Open Spaces. 1989 Novox (MC). One of what seems like a million new age / electronic tapes popping up in the late 80s and early 90s. All things considered, this one wasn't too bad, though those early digital tones can be a bit tough to get through. At least he mixes in pan flute, electric piano, bass, strings, bells, etc... The music is of a positive nature and one could see the advertising blurb going something like: "Joyous and uplifting, Open Spaces is full of love and peace." Sure. For the low, low price of $8.99. (9/10)

Delerium - Karma. 1997 Nettwerk (CD). Delerium started their career as an offshoot of Front Line Assembly, and their music was very much in the industrial, dark ambient realms. I personally started with Delerium on Semantic Spaces, a very important CD in my collection, and a story I will tell whenever I get to that album. Only to mention that Delerium had changed dramatically by 1994. By the time Karma had come out, many changes had also occurred in my life, and the album didn't resonate much at all. I kept it for many years before moving it out. Found it again in the quarter bin, and since I never wrote about it, decided to give it another shot. My last rating on it indicates that it was high enough to keep, but I purged it anyway. And that's exactly the conclusion I've derived again. The album is heavily influenced by early Enigma, a sound I was enamored with in the mid 90s, but it was becoming old hat by the end of the decade. Airy female vocals, sexy in atmosphere, Asian and Middle Eastern influenced, with synthesizers and beats. Every track is what I'd consider "good" but there's nothing here that resonates with me. Neither time and place nor an objective wow. Delerium went on to release six more albums, none of which I'd heard, but wouldn't pass up the chance to do so. (4/22)

Synth.NL - AtmoSphere. 2008 Groove Unlimited (CD). It's not everyday you find a Groove Unlimited album here in the American thrift shops. And this one made it to "the bins", so it was 25 cents. I'll buy anything on the label for that price. Hmm... Synth.NL - AtmoSphere. I'm going to go out on a limb here and predict this might be an electronic album from The Netherlands. Yea, not a lot of points for originality, right down to the album and song titles. Like with prog metal, the blueprints have been out there for some years, so there's little chance for creativity unless you add in more members and instruments. Klaus Schulze is an obvious influence, but I wouldn't call this a Berlin School album, primarily due to the lack of sequencers. Jean-Michel Jarre might be a bit closer actually. Synth.NL is a pseudonym for a one Michel van Osenbruggen. He probably should have used his own name, it plays well with the European electronic audience. There are extensive academic liner notes about each track, as well as his personal background with electronics. But there's no layout of the synthesizers he's using. I'm hearing mostly digital, with some beats added. Not a lot of analog sounds, and this album most certainly needs some tonal color. Certainly a pleasant listen, though too much of the same thing to enter my collection at this stage. (4/12)

Donald Byrd ~ USA

Ethiopian Nights (1972)

What was I saying on Black Byrd about wah wah rhythm guitar? Holy Moly. What a groove A1 has. And by the time Harold Land's sax solo comes across, you find yourself completely immersed into Byrd's new vision of jazz funk. As if to prove that track wasn't a fluke, the entire B side has a similar deep groove. Here, though, the psychedelic is played up much more. Of all the 50s and 60s era jazzers, Donald Byrd seems to be the one I connect with the most in his jazz funk stage. Even more so than Miles Davis and Herbie Hancock.

Ownership: 1972 Blue Note (LP). Acquired in 2026.

9/8/26 (review)

Thank You… For F.U.M.L (Funking Up My Life) (1978)

A good example of desperation so as to stay in the game. Back cover gives the game away with Byrd looking ridiculous in his double breasted yacht captain suit. Long ways from the gritty aura of Ethiopian Nights, Black Byrd, and Street Lady. Of course it must be stated that Byrd wasn't above recent trends, and played right into the jazz funk movement of the early 70s. He just happened to be really good at it. And here he follows the style of the day: Disco. And to be fair, this is a decent attempt for relevancy. The final track 'Close Your Eyes and Look Within' offers promise that Byrd could have had another winner on his side. Too many strings, boring beats, and annoying vocals sink this title though. Feels like a contract obligation album for Byrd. 

Source: 1978 Elektra (LP)

3/17/24 (review)

Black Byrd (1973)

Ever since hearing Street Lady, I knew I wanted to hear other Byrd albums from the time period. And Black Byrd is the beginning of the sound that we hear on Street Lady. As many have noted, it's pretty much a Mizell Brothers dominated release (i.e. they wrote most of the music). Apparently - in its day - the album caused an uproar with traditional jazz enthusiasts. And that frustration the critics expressed had such a profound effect - that Black Byrd became one of Blue Note's best sellers. Haha. I personally love this kind of analog breezy jazz funk. And Roger Glenn once again shines on flute, along with some innovative trumpet from Byrd. I'm a sucker for wah wah rhythm guitar and active percussion, and there's plenty of that too. Vocals are probably unnecessary but they are sparse. Love the 1897 vintage photo cover from Knoxville, Tennessee. A powerful image. Definitely keeping this one.

Ownership: 1973 Blue Note (LP). Acquired in 2021.

5/30/21 (review)

Stepping into Tomorrow (1975)

As the first notes play, it's apparent the groove will remain the same as on Street Lady. But it's even more slick, and adds female vocals to give it a more commercial feel. Gone is Roger Glenn and his flute, and his playing would have been perfect here. For this album, the best track IMO is towards the end, and that would be 'You are the World'. Overall not at the level of Street Lady, but a keeper all the same.

Ownership: 1975 Blue Note (LP). Acquired in 2021.

3/13/21 (review)

Street Lady (1973)

The first two tracks are about perfect for funky jazz. What a groove. Wonderful analog synthesizer, guitar, and of course Byrd's trumpet. Best of all is Roger Glenn's flute. He's killing it here. I love these large ensembles, and this one counts to 10. All six songs are great, but the first two and 'Witch Hunt' take the prize. 

Ownership: 1973 Blue Note (LP). Gatefold. Acquired in 2021.

3/11/21 (review)

Also own: Fancy Free

9/8/26 (new entry)

Ash Ra Tempel / Ashra (& related) ~ Germany ~ Berlin

The Making Of (1978) 

The Making Of is the jam sessions leading up to what ultimately was released as Correlations. As was Manuel Gottsching's protocol back then, he recorded everything as they went. And we're now the fortunate receivers of this great gift. These three CDs are exactly as stated: Jam sessions. Not professionally recorded, just simply an old Revox A77 with a single mic in the room. Some of the songs are recognizable from the album, others really are just loose jams.Worth having as bonus tracks for certain.

Ownership: 2008 MG.ART (5xCD). Correlations Complete. Box set with booklet. Acquired in 2026.

9/4/26 (review)

Phantasus (1978)

Phantasus was the original name for what ultimately became Correlations (see below for review of the album). It's also a different recording. Though largely the same compositions, you'll hear a rawer, more intimate sound with various tempo changes from what was issued. And a different track order. Had Phantasus been released instead, I most assuredly would have been just as happy with the finished product upon first hearing it. One could argue that Correlations is better produced and adds more studio effects, but the performance is similar. While not a necessary buy on its own, it's a fantastic bonus disc as presented on this 5xCD set. Apparently some folks aren't taking the time to hear it, as 'Springtime' gets called out as a unique track. No, it was simply renamed as 'Oasis' on Correlations.

Ownership: 2008 MG.ART (5xCD). Correlations Complete. Box set with booklet. Acquired in 2026.

8/27/26 (review)

Schwingungen (1972)

Here is the last of the classic Ash Ra Tempel albums that I hadn't added to UMR prior. 

---2/9/01 

Schwingungen, Ash Ra Tempel's second effort, is a vastly underrated album even by ardent fans of the band. Perhaps it's due to the absence of Klaus Schulze? The controversy here surrounds John L., Ash Ra Tempel's one and only vocalizer (singer just isn't an appropriate term here). He is, to say the least, the Krautrock movement's supreme example of a paranoid schizophrenic. For those who are familiar with the LSD ramblings of Dawn on Brainticket's Cottonwood Hill, then John L. is her male equivalent. 'Darkness: Flowers Must Die' just about says it all. And boy does John L. say it all! While a steady rhythm section chugs along (not near the intensity Schulze brought on the debut however) - there are sax bursts, fuzz guitar flashes, tribal drums, and other phased sounds and noises creating a very edgy atmosphere. Through the chaos, John L. is screaming and anguishing (through electronic effects) about the decay of cities and the Earth. Flowers must die, flowers must die", "Die, die, die, die ,die..." and all hell breaks loose. Here, Manuel Göttsching pulls off the most angry and concise guitar solo of his career, and at the end, if the listener is not left in a heap in the middle of the floor - well, they're just not getting involved! In keeping with Ash Ra Tempel's wild side/mellow side theme introduced on the first album, the flip 19 minute composition is an exercise in choral, tranquil electronic beauty - recalling Pink Floyd's Saucerful Of Secrets at their most cosmic and trippy. An album that should leave one emotionally exhausted if paying careful attention.

---12/31/23

All these years later, and I still get a charge out of this album. The album itself perfectly represents a time and place (early 70s Germany). And my personal history created another time and place experience with the album (this would be the later 1980s for me). Timeless.

Ownership: 

1972 Ohr (LP). Gatefold. Acquired in 1988. 

2004 Arcangelo (CD). Papersleeve edition as part of the Ash Ra Tempel promo box set. Acquired in 2004.

1//88; 1992; 2/9/01 (review); 2004; 12/31/23 (update)

Join Inn (1973)

---8/21/99

On Ash Ra Tempel's third album Join Inn we're introduced to Manuel Göttsching's longtime lovely girlfriend Rosi Mueller (who previously only had cameos on Schwingungen and Seven Up). And we get to hear the pleasure of Klaus Schulze back in the drumkit saddle. On this album he provides less drums and more keyboards than on the debut. 'Freak N' Roll' opens the album in typical heavy fashion. Schulze's trademark machine gun drumming technique comes to the fore very early this time - and one would almost expect them to outdo the phenomenal 'Amboss' from the first album. But they climaxed a bit too early and had to settle for Göttsching's unique guitar rambling combined with the Enke/Schulze energetic rhythm section to make it until the finish. 'Jenseits', however, is Ash Ra Tempel's crowning spatial moment. Here, Schulze shows his brilliance with electronics, laying down a tranced out locust-at-night sound while Hartmut Enke defines what a bass guitar can do for space music. Göttsching's guitar just shimmers and flows. But the highlight on this song for me is Rosi's seductive yet fragile and innocent voice whispering on top. I have absolutely no idea what she's going on about, which adds to the exoticism and mystery for non-German speakers.

---11/30/23

Like with Sandrose and East of Eden's Mercator Projected, I'm not sure I'm going to get more peak moments out of Join Inn. Even though it's been 12 years since my last listen, it's as if I knew every note when hearing it last night. I've played this album a ton over the years. That being said, it also maintains its 5 star rating. One of my all-time favorites.

Ownership: 

1973 Ohr (LP). Acquired in 1999.

1973 PDU (LP). This version has Klaus Schulze's name in the marquee. Acquired in 1987.

2010 Belle Antique / MG.ART (CD). Papersleeve. Acquired in 2011.

1987; 8/21/99 (review); 2/2/01; 12/9/11; 11/30/23 (update)

Belle Alliance / Belle Alliance Plus (1980)

Belle Alliance is the second and final album by the trio of Gottsching, Ulbrich, and Grosskopf. There are many similarities to their previous effort Correlations, though there are some exceptions to be noted. 'Screamer' is very much rooted in the New Wave 80s sound, but with some fine psychedelic guitar soloing providing a great contrast of styles. 'Boomerang' tries for a reggae sound, with mixed results, but once again the guitar saves the day. 'Aerogen' gives one an idea of what happens when sequencer based electronic meets a power trio. 'Sausalito' could also be considered an instrumental progressive rock track, similar to maybe fellow countrymen Rousseau. 'Code Blue' goes deep into electronic space, not that dissimilar to Klaus Schulze's late 70s works. 'Mistral' takes us back to the glorious spacey electronics + guitar of the Blackouts album, and is just gorgeous. Overall an excellent, and diverse, album from veterans who were still exploring music in an exciting way. Unfortunately this album concluded the Virgin era for Ashra, as well as the trio itself.

Reviewing the second half separately, since it includes an extra disc of entirely new material. This would be the "Plus" part. There are only three tracks here, of which two make up the majority. 'Flying Turtles' is 11:25, whereas Voices of Heddernheim comes in at a whopping 24:21 ('Urscreamer' is 2:38 for reference). So basically what we have here is the jamming sessions that made up Belle Alliance - though it must be said both of these tracks are entirely unique. With a certain amount of editing, these two would have made a splendid addition to the original LP. Perhaps to be expected, the guitar is more psychedelic here, recalling Gottsching's and Ulbrich's Krautrock past. Personally speaking, I wouldn't want to own this album on CD without this extra disc, which was first introduced on Gottsching's own label in 2008.

Ownership: 

1980 Virgin (LP). Acquired in 1986.

2008 Arcangelo (2xCD). Gatefold papersleeve. Released as Belle Alliance Plus. Extra full album is included. Inside the gatefold are photos of all three in the studio while recording. Acquired in 2018.

1986; 1996; 6/3/18 (review)

John L. and Adamah - Lonesome in Overdrive (1996)

---Dec 2004

A magnificent album that hardly anyone knows about, and it features an original iconic Krautrock freak!

About a couple of times a year, something will arrive that re-lights my collecting fire. Not long ago, it was Del Jones Positive Vibes. Prior to that it had been Berits Halsband that reawakened me. If you saw this CD in the store, you’d pass right over it. The artwork and lettering look like a new age album on the Narada label. It’s dedicated to Greenpeace and half the songs are about whales. It’s subtitled Malinuuga Music, which according to the liner notes is the indigenous rhythm of Europe, unrelated to African and Native American percussion. Yea, well whoopdee doo.

Well boys and girls, the reality is this: Had I sent you a tape and stated "Adamah: Unreleased Ohr album from 1972", you would have had ZERO problem believing me. This is the most authentic slice of Krautrock I’ve heard post 1980. In spirit, sound and intensity. Adamah is not some new age wuss who misses his mommy, but rather a nine piece group that features all sorts of analog synthesizers, flute, clarinet, violin, steel guitar, electric guitar, sitar, various homemade stringed instruments, female vocals and no less than 3 full time percussionists. The production sounds as if Dieter Dirks did a number on it, with loads of phasing and other studio trickery. There is wah-wah, fuzz and all sorts of wild moments found throughout. There’s even the female narration in German ala Ash Ra Tempel's Join Inn. And there’s not even a HINT this is done for a retro market or that it’s the 1990s. This is truly organic, time has completely stood still. And if you are paying close attention, yes, this is THE John L. of Ash Ra Tempel's Schwingungen fame! Here he’s dressed in full-blown traditional Jewish attire, complete with flat brimmed hat, long beard and side curls. And he’s holding one of those aforementioned homemade electric stringed instruments with the Star of David on it. And he sounds pretty much the same as he did on the ART album, with chanting, yelling, semi-singing. Most of the album is instrumental, so his vocals are once again a curious, but fascinating, addition. With a 24 year separation between albums, and both masterpieces, John L. has proven he's one of the true creative freaks of our era.

Ownership: 1996 Green Tree (CD)

12//04 (review); 9/19/17 (update)

Hoenig / Gottsching - Early Water (1976)

Early Water sounds exactly what you expect from Michael Hoenig and Manuel Gottsching circa 1976. Somewhat like New Age of Earth meets Departure From the Northern Wasteland, with sequencers raging and Gottsching letting loose on the electric guitar - more so than he did on New Age of Earth. Apparently this recording was made in the studio just before the duo were to embark on a tour of France, which was cancelled at the last minute. Fortunately Gottsching kept the tapes and sent to Hoenig (nearly 20 years later) who was then residing in Los Angeles as a studio producer. So the whole thing sounds magnificent. If all this resonates with you, this CD is a must own. Otherwise, maybe not the best place to start with either artist, as a 48 minute continuous track may be a bit much to open with.

Ownership: 1997 Spalax (CD). Digipak. Acquired in 1997.

9/23/97; 12/22/15 (review)

 

Starring Rosi (1973)

---2/9/01

Starring Rosi is Ash Ra Tempel's 5th album, and a departure from the intensity of the previous three studio albums, as well as the drugged out live Seven Up outing. Gottsching recruited Dieter Dierks (Scorpions, a million others) not only for his usual superb production ability, but also for bass guitar duty. As well, Kosmische Kourier / Wallenstein standby drummer Harald Grosskopf makes his presence felt (and would later join Manuel in his Ashra trio format of the late 70s and early 80s). As stated in the premise, the album's contents are completely different from the emotional workouts of their previous studio offerings. The mood is light and carefree. And it appears as if Manuel and Rosi are just having a fun date here (she does glow radiantly on the album cover, one must admit). The guitar style shown on the latter half of Join Inn's 'Freak N' Roll' makes its presence on 'Interplay of Forces' and 'Laughter Loving'. 'Schizo' recalls the intensity of the earlier albums, but is sadly all too short. Through it all we have Rosi's lovely spoken voice (in English verse the German of Join Inn) and a bit of ill-advised singing from Manuel (something he fortunately gave up quickly). Overall a very pleasant and unique album. If the proper expectations are set, you will likely be rewarded here.

Ownership: 

1973 Kosmische Musik (LP). Acquired in 2000.

2010 Belle Antique (CD). Papersleeve. Acquired in 2011.

First copy: 1983 Pop Import (LP). Acquired in 1985.

1985; 2/9/01 (review); 12/29/11; 3/8/15 (update)

Seven Up (1973)

---2/9/01

During this period, Ash Ra Tempel were contributors to a kind of cosmic circus, touring around with others of a similar mindset concerning philosophical thought, lifestyles, and music. Seven Up, is the recorded document of this time while in Switzerland. The fame the album has achieved is due in part to two elements: (1) The involvement of drug culture icon Timothy Leary, and (2) the dropping of acid into the band members' 7-Up. While that might sound radical up front, Seven Up is quite tame compared to the first two masterpieces. The first side long montage is a medley of electronics and drugged reworks of pop hits from the 50's and 60's. Unique? Yes. Satisfying? Perhaps not. Side two is a rework of the spacey 'Suche and Liebe' from Schwingungen. This version, called 'Time' and which contains a slightly different opening, is quite good - but not overly moving - and you get the impression the band's ready for bed after partaking in too much alternative nutrition. A much better version of Seven Up can be found in the outtakes and studio reworks found on Gilles Zeitschiff's Sternenmadchen album.

Ownership:

1973 Kosmische Musik (LP). Gatefold. Comes with a small detailed insert. Die Kosmischen Kuriere was the original name for what became known as Kosmische Musik - and this is the debut album for the imprint. Acquired in 1997.

2010 Belle Antique / MG.ART (CD). Papersleeve gatefold. Acquired in 2011.

First copy: 1983 Pop Import (LP). They used the alternate cover as found on the Italian PDU release. Acquired in 1985.

1985; 1995; 1997; 2/9/01 (review); 12/17/11; 3/7/15 (update)

Correlations (1979)

In 1979, Manuel Göttsching once again changed directions for his alter ego Ashra project. Reuniting with former colleagues Lutz Ulbricht (guitar and synthesizers), and Harald Grosskopf (drums and synthesizers), Ashra presented their unique variation of the power trio. Correlations was the first of two releases by the lineup. Once again the mood is light, with bouncy almost funky / disco styled rhythms, heavy use of sequencers, and of course, Manuel's spirited but rambling guitar. And yes it does get psychedelic at times. No doubt Ashra caught the breezy tropical fusion bug that had invaded Germany at this time. One of optimism and good times, if not a bit misguided. An album that has aged incredibly well for me, though I had reservations initially when I first bought the LP. 

Ownership: 

1979 Virgin UK (LP). Acquired in 1985.

2008 MG.ART (5xCD). Correlations Complete. Box set with booklet. Includes four other discs taken from the same sessions. Acquired in 2026.

1985; 1996; 1//04; 2010; 2/7/15 (review); 5/23/18; 8/18/26

Blackouts (1978)

---2/9/01

On Blackouts, Manuel Gottsching returned to the guitar once more to release his masterwork of the Virgin era. His blend of soulful electric guitar with whooshing synthesizers and sequencers has never been matched to this day. The set of tracks 'Midnight on Mars', 'Don't Trust the Kids', and 'Blackouts' is simply astounding, and Manuel's guitar playing here is hotter than anywhere since the early Ash Ra Tempel days. The title track is absolutely on fire by the end of the piece. 'Shuttle Cock' possesses the sound on sound guitar of Inventions For Electric Guitar.

---1/22/15

The original LP states that Gottsching plays "Sequencer, Keyboards, and a lot of guitar" and he thanks Udo Arndt for the "lonely guitar sound". As well as "This record should be heard comfortably". I cannot for the life of me understand the criticism this album gets. I've had this on LP for over 30 years, and there is an amazing vibe here that I never tire of. I've spent many hours closing my eyes and listening intently to it visualizing the imaginary movie it projects. A brilliant masterwork for my tastes.

Ownership: 

1978 Virgin Netherlands (LP). Single sleeve. Acquired in 1985. 

2008 Arcangelo (CD). Papersleeve. Has Manuel Gottsching's name on it instead of Ashra. Acquired in 2018.

1985; 2/9/01 (Gnosis); 1/22/15 (update); 6/17/18

The Private Tapes Vol. 3 (1971-1974 / 1996)

---7/28/96

There are three Gottsching solo guitar tracks from 1973. These were all in preparation for the Starring Rosi album and predate the concept he'd use eventually on Inventions for Electric Guitar.

There's one lengthy 27 minute track from 1974 with Lutz Ulbrich from Agitation Free and later a member of the Ashra trio with drummer Harald Grosskopf. It's a long spacey track focused on keyboards, but with some fine guitar work as well. Relates closest to Le Berceau Du Cristal, another archival release from Manuel Gottsching.

The final track is a 32 minute freakout jam from 1971 along the lines of the debut album ('Le Bruit des Origines').

---3/1/10

This is one of the legendary six volumes that Manikin unleashed on the public in 1996. They came out in the late spring while I was backpacking through Spain in 1996. When I arrived home, I was told about it. The retail price was $100, and I was a bit short on cash from my trip. I went ahead and got them anyway, at the encouragement of some friends, who all knew I was a big fan of the band. Thank goodness, as this set is known to go for ten times the price I paid. Manikin reissued a 2xCD compilation, but for some reason these 6 CDs remain without another reissue.

Ownership: 1996 Manikin (CD). Acquired in 1996.

7/28/96 (review); 3/1/10 (update)

 

Le Berceau de Cristal (1975 / 1994)

1975's Le Berceau de Cristal (not released until 1994) is a soundtrack to a French film, which displays the logical development between the Ash Ra Tempel and Ashra albums. Manuel Gottsching lined up with friend, and former Agitation Free guitarist, Lutz Ulbricht to continue his exploration of cyclical guitar sounds and electronics. It's truly a successor to Inventions for Electric Guitar, with sound on sound electric guitar at its core. This coupled with some sequencers, Farfisa, and other synthesizers added on top. Wonderful late night listening that has that cosmic Berlin School sound.

Ownership: 1994 Spalax (CD). Brief liner notes in French with a vintage photo. Acquired in 1996.

1996; 1/16/10 (review); 12/30/21

Inventions For Electric Guitar (1974)

---2/9/01

Here's where Manuel Göttsching began his solo career, though he maintained the Ash Ra Tempel moniker for one more album. Inventions for Electric Guitar was a revolutionary album for the day and is still forward-looking over 35 years later. Creating a sound-on-sound electronic vibe using only guitars and tape loops, Manuel weaves a wonderful tapestry of music that is at once intense and yet beautiful. He adds color with vicious solos while the guitar loops are bouncing in the background. Yet another brilliant work - and something entirely different for his past works.

---1/10/10

It's been said this is the first electronic album performed entirely on electric guitar. And while Achim Reichel employed a similar tactic, his albums were group efforts. Gunther Schickert, another follower of this technique, also first released his landmark Samtvogel in 1974.

Ownership:

1974 Kosmische Musik (LP). Acquired in 2020. 

CD: 2004 Arcangelo (Japan). Papersleeve edition as part of a box set that includes Ash Ra Tempel's first 2 albums.

First copy: 1983 Pop Import (LP). Acquired in 1985.

1985; 1995; 2/9/01 (review); 4//05; 1/10/10 (update)

Ash Ra Tempel (1971)

---2/9/01

Germany. 1971. Underground. Those three terms evoke images of the Berlin Wall, intensity, angst, freedom.

Very rarely is a moment so well captured just through music. Yet this is just what happened on Ash Ra Tempel's self-titled debut. The opening piece 'Amboss' (Anvil), is one for the ages. Starting with dark sounds that seem like shadows, created only with primitive electronics and guitar, the piece seems on the verge of falling into a black abyss to never return. Slowly the tension builds to a deafening crescendo, and without warning, Klaus Schulze begins his definitive piledriver drumming pattern. What could be possibly more intense and more chaotic? The listener is pounded into submission. Only to be equally mutilated by Göttsching's furious jamming, certainly the most intense, psychedelic, heavy guitar ever recorded. After a few minutes of this sort of violent cosmic blues jamming, there is a sequence of free-jazz drumming and electric guitar polka-dots that just burst into another firestorm, and along comes Schulze even more furious than before with Göttsching and Enke trying to subdue the entire German nation with their blistering guitar work. The Berlin Wall must fall! It doesn't - but certainly the musicians must have. One gets exhausted just listening to it! This 19 minute opus is followed by the exquisite 25 minute 'Traummaschine' (Dream Machine). Again, the mood is somber but slowly the sound gets louder. The band manages to achieve an electronic cadence while the guitars and electronics swirl. Hand percussion enters in and Göttsching turns up the fuzz for another biting solo. There is a period of rest and again the rollercoaster begins for yet one more jam. To this day, there has never been an album of music that sustained this kind of intensity for 40 minutes. How they were able to so without a moment of wasted time is a testament to the brilliance of one of the greatest albums of all time.

---1/9/10

This album had been my Holy Grail for about three to four years. I first discovered Ashra / Ash Ra Tempel back in 1985 from a store called The Record Gallery in Dallas when I was midway through college. The odd thing about Ash Ra Tempel, is that all of their albums starting with Seven Up were reissued by Pop Import in the early 1980s. Those are the copies this store had. In Dallas, in 1985, I can assure you no one else did, not even Metamorphosis by then (locals will know what I mean). So with that, finding the first three albums became my determined quest. I found the PDU copy of Join Inn in 1987 as I was wrapping up my degree. And scored Schwingungen in early 1988. And finally, after years of searching, I scored the PDU version of the debut in late 1988. From the late great Jeff Baker. It was $55. Where the hell did I get $55 for a record? I have no idea. But I did and never regretted a second of it. My first listen was an unforgettable experience. Right around Christmas in fact.

Ownership: 

1972 Ohr (LP). 56 label / 556 cover. Comes in an extraordinary fold-out-of-the-middle gimmix cover. Acquired in 2004.

2004 Arcangelo (CD). Papersleeve that replicates the original gimmix cover.. Comes in a box set, that -opens up to three mini-LPs, which also includes Schwingungen and Inventions for Electric Guitar. Acquired in 2004.

First copy: 1976 PDU (LP). Acquired in 1988.

1988; 2/9/01 (review); 1/9/10 (update)

Other albums I own: New Age of Earth; Friendship; The Private Tapes Vol. 1-2, 4-6

Albums previously owned: Walkin' The Desert

1/9/10 (new entry)