2026 Funk / Soul Journal Vol. 1

John Tropea - To Touch You Again. 1979 Marlin (LP). Tropea first came to my attention as the guitarist who laid down those fiery solos on the early (American) Deodato albums. It was my hope he'd do similar here. The album opens up promisingly enough with a wonderful guitar tone and a serious disposition. But it quickly devolves into the jazz funk tropes (Freudian slip) of the day. A2 is more of what I'd hope. Sort a breezy latin jazz rock number, great for a summer day. A3 is a bad Melanie cover and A4 sounds almost exactly like George Benson at this stage. The album continues in this manner for the duration, and Tropea never lets loose. Pity that. Harmless 35 minute record that accomplishes little.  Not for me, but I'll continue to seek out his other titles if at a quarter a piece. (4/28) 

Messengers Incorporated - Soulful Proclamation (1972). My first encounter with this band from Oklahoma City was through the Midwest Funk 45 compilation CD. The exception to the all-45 compilation was the title track from this album. I honestly don't recall my initial response to the track itself, but it's likely to have fallen toward to the bottom of that comp. It's mostly soul, with funk as the secondary genre. That's how this super rare album opens (reissued plenty though). The second track is an instrumental gem, mixing in psych with the funk, one of my favorite combinations. A3 is the soul standard 'Ain't No Mountain Higher' with an inventive arrangement. A4 is a sleepy soul number. Bill Withers with a couple of drinks in him I'd submit. A5 is more energetic bringing back the female vocals (they're mixed throughout). Features a nice jazzy mid section with sax in the lead. The B side is similar in construct, adding in some gospel even. This time the group covers that Beatles chestnut 'Eleanor Rigby', a very good and creative rendition. Album closes with a high energy and positive jazzy rock instrumental. Other than a couple of exceptions noted above, not really hearing why this album has the rep among the collecting community. Acknowledging that it's legitimately rare, and hard to find. Pretty standard soul fare here. (3/8)

*Pleasure - Joyous. 1977 Fantasy (LP). When I first heard this LP (acquired from a thrift shop) in 2019, I had no foundation for the music or the group. Seven years later and many funk, soul, and disco albums have rolled through here. Including a later Pleasure album that I spoke highly of. I thought this revisit would provide clarity, since I didn't take notes from the first listen. Not really. The album has mixed reviews and it's easy to see why. Everyone agrees that the opener is great. It's a mixture of jazz, funk, heavy psych, and disco. Would have loved to hear Marion McLain unleash more of his inner Ernie Isley. A2 is a commercial soul influenced track, but it's nice. A3 and B2 are too schmaltzy for my tastes, however. A4 is a pretty decent funk track whereas B3 is similar but weaker in that par-tay sort of style. B1 and B4 are instrumentals. The former has wordless vocals and goes a bit long but is still enjoyable on the whole. The closer is more towards soft jazz and is an excellent ending. The album is fairly scarce, and I'm not sure I'm ready to part with it. So I won't. Once I get more Pleasure albums in the door, I'll build out a page and then decide what to keep. They were from Portland, Oregon. (2/17)

* - Keeping for the collection

Didier Lockwood / Surya ~ France

Live in Montreux (1980)

Violinist Didier Lockwood played on a ton of albums in and around the French jazz rock world of the late 70s. This includes the below, one of his most famous releases (though it was truly a band effort). I haven't heard a fraction of his solo albums, and a buddy of mine had this cheap at the Denver record show, so I grabbed it for a listen.

By 1980, Lockwood seemingly had the same reputation as Jean-Luc Ponty. While that may (or may not) have been true in France, it certainly wasn't here in the States. But that didn't stop the labels from trying. Pausa, whose parent label was based in Italy (for my core readers, think Maxophone), was one such entity working hard to bring European artists into the American fold. Usually with no success. To read the back quotes, you'd think Lockwood was as talented as David Oistrakh, Michael Rabin, or Nathan Milstein. Regardless, Live in Montreux is mostly garden variety fusion of the era. Tight unison lines are followed by swapping solos. Some atmospheric and funky pieces provide contrast. Lockwood gets in one unaccompanied solo, that I'm rather certain would not qualify for symphony hall status. Jan Hammer, who apparently didn't sleep in the 70s and 80s, is on hand with his trusty synthesizer. The audience seemed more enamored with him than Lockwood himself. Admittedly Lockwood does get some very interesting sound effects out of his fiddle. Formulaic, easy to listen to, but otherwise too much of the same thing for me.

Source: 1981 Pausa (LP)

4/28/26 (review)
 

Surya (1979)

Surya was a fusion band lead by the Lockwood brothers, and released this one album. In the US, the album was listed under Didier Lockwood's name with the title of Surya. Strange move, as I doubt Didier Lockwood meant too much to the average American at the time. Could have been a copyright thing. In any case, Surya is a smoking hot fusion album with Didier's violin up front, supported by Francis' piano, and some fantastic synthesizer work from Luc Plouton. In-every-band drummer Jean My Truong is keeping bassist Sylvain Marc busy trying to maintain the pace. It's not all chops, as you can find some beautiful songwriting such as found on 'Aspiring Answer'. There's some funky business too, as to be expected from the era. All in all, a superb fusion album for fans of the genre.

Ownership: 1979 Cornelia (LP). Information inner. Acquired in 2021.

First copy: 1980 Inner City (LP). Acquired in 2003. Replaced with the above.

2003; 1/20/22 (review)

1/20/22 (new entry)

Jean-Luc Ponty ~ France ~ USA

Imaginary Voyage (1976)

I first heard this album via LP some six plus years ago (and probably before that, not sure I ever owned it though). But I didn't get any notes down on my listening experience. I did sell it, only to find this CD in the quarter bin recently. Let's see if I want to hold onto it this time.

Ponty's second album for 1976 sees him diversifying his sound a bit. Though the hoedown opener may have been too much at once lol. The next three tracks sort of blow by without notice. A5 starts to light things up with some fiery guitar from Daryl Stuermer (him again). The interest in Imaginary Voyage boils down to the 20 minute title suite on Side 2. It's definitely the most ambitious piece on the album, and brings in some progressive jazz fusion tendencies. The music, however, does lack the fire of those that surround it. Had this been an earlier fusion discovery for me, I would certainly hold onto it. I can let it go now though. It's easy to find if I ever change my mind again.

Source: 1990 Atlantic (CD)

1/3/20; 4/27/26 (review)
 

Aurora (1976)

Unlike most of Ponty's classic fusion albums, I've never heard Aurora, one of his landmark works. Just one of those quirks of life I guess. It wasn't that long ago I featured an obscure fusion band from my original hometown of Dallas named Aurora, no doubt influenced by this album. In any case, as noted below, I recently acquired Cosmic Messenger on CD, and this album is included with it.

As usual, Ponty surrounds himself with top talent including the lovely Patrice Rushen on keyboards. Always-around-somewhere guitarist Daryl Stuermer provides some pretty mean licks. Ponty's heavily affected violin is smooth as glass. Overall not as intense as Cosmic Messenger, but there are plenty of fire moments here too, including the lengthy two part title track. The album closes with two mellow numbers leaving it with the overall impression it's a light album, but that's not really the case.

See Cosmic Messenger for Ownership details.

12/22/25 (review)

 

Cosmic Messenger (1978)

---8/2/21

I love the way that Ponty layers all the instruments, and there's some really fine rhythms, tying to my new favorite genre of jazz funk. Excellent solos as well, rarely showboaty, always measured.

---12/16/25

That was the journal entry from only a few years ago, and my second listen. Though I was certain to have heard this album in the 80s or 90s, I had no record - or recollection - of it. I consider the 2020 listen as my introduction, after acquiring it at an estate sale a few months prior. I unintentionally made it sound like a solo album, but it's a full band effort with four to six musicians performing on each track. Some great synthesizer and guitar work from the guests add a lot of color and energy to this fine work. Naturally his violin remains the feature. Ponty was a major force in the fusion field at this time, and his albums go toe to toe with the best of them. I find albums like this very easy to listen to, and provides a nice break from more complex efforts.

Ownership: 2022 Wounded Bird (CD). With Aurora. Booklet has recording details only. Acquired in 2025.

1/5/20; 8/2/21 (notes); 12/16/25 (review)

Individual Choice (1983)

Individual Choice is a very interesting album from Ponty, favoring the synthesizer over his trademark violin. In this way, he seems to be following Richard Pinhas' approach more than his own fusion based efforts. His sound choices are mostly monolithic while heavy on the sequencer. Though more positive in tone, one could make comparisons to Chronolyse, especially when there's bass and drums present. The melodies are well written and provide a nice contrast to the normally cold electronic genre. Always fun to hear future American Idol star Randy Jackson on the bass. He certainly earned his way to being a judge, as he was a very busy session player in the 80s. Only the finale 'In Spite Of All' demonstrates Ponty's fusion tendencies. I'd owned this album many years ago, but dismissed it as ordinary fusion. I missed the boat. Wrong genre and wrong mindset.

Ownership: 1983 Atlantic (LP). Reacquired in 2023. First acquired in 1993.

1993; 4/18/23 (review)

Also own: Enigmatic Ocean

Once owned and need to revisit: & Stephane Grappelli; King Kong; With the George Duke Trio; Civilized Evil; Mystical Adventures

4/18/23 (new entry)

Heldon / Richard Pinhas ~ France

Third: It's Always Rock'n Roll (1975)

The tongue-in-cheek titled It's Always Rock'n Roll, is Heldon's third effort, this time spread across two LP's. Like most of the early Heldon albums, the music is primarily a Richard Pinhas solo album with guests helping out here and there. Opening up with a strictly sequencer based electronic number, the second cut is classic Heldon: Tortured electric guitar searing over the electronic base. Helping out here is Georges Grunblatt, later of K-Priss fame. Lard Free's Gilbert Artman adds drums to A3, and with Pinhas' fiery guitar, gives it a rock band feel. A4 is a cold and icy multi synthesizer piece, predicting where Pinhas was to eventually go on Rhizosphere and Iceland. Pinhas develops this further on 'Aurore', which takes up all of side 2. This track begins rhythmless, and could be considered a forefather to ambient music. About nine minutes in, the sequencers begin to rumble. So for 29 minutes, starting with A4, the album is entirely electronic. LP #2 opens with Pinhas back on guitar, both electric and acoustic. C2 is similar and brings back Grunblatt on mellotron for haunting effect. C3 is a unique track in Heldon's canon. Heavily distorted electronics and guitar create the framework for a blistering experience. It was the logical conclusion of where Pinhas had taken the group to date. 'Doctor Bloodmoney' takes up all of Side 4. Repetitive sequencers are augmented at the end with some fine drumming from Jean-My Truong. This track has a conclusive feel, and it seems Pinhas would consider it a definitive statement on his career to that point. With history on our side, we now know that Richard Pinhas was just getting started on his career trajectory.

This was the last of the first seven Heldon albums for me to obtain, as originals were expensive even back then. Because of this, Third didn't have the impact on me like the others. I was largely familiar with their sound by 1992, and thus the album was comforting, though not enlightening. Had I heard it first instead (as with Agneta Nilsson in 1986), it would be one of the treasures of the collection, no doubt. No matter, as all of them are still what I would consider essential in my book.

Ownership: 

1975 Urus (2xLP). Gatefold. Acquired in 1992.

2005 Captain Trip (2xCD). Papersleeve gatefold. With two inserts. Acquired in 2006.

1992; 2006; 4/27/26 (review)
 

Stand By (1979)

Not an everyday occurence when a band releases their best album on the seventh try and then calls it quits (for all intents and purposes). That's what Heldon managed to accomplish, and closed out the 70s decade in style. It's also a new direction for Pinhas and company, as much of the album is more progressive rock oriented than prior. There's also a parallel effort with Tangerine Dream's Force Majeure, mixing Berlin School sequencer based electronics with rock instrumentation. Though Pinhas was more on fire than Froese at this time. B1 adds in some Zeuhl vocals from Klaus Blasquiz, hey why not, they're going for it. The energy level remains high, and the sequences fast.

Then comes the title track, one of the most blistering, unrelenting, guitar power trio instrumental tracks ever made. It's no wonder why Pinhas closed off the Heldon name here. There was nowhere else to go!

Ownership:

1979 Egg (LP). With insert. Acquired in 1987. 

2005 Captain Trip (CD). Papersleeve. With three inserts. Acquired in 2006.

1987; 2006; 12/8/25 (review)

Agneta Nilsson (1976)

Agneta Nilsson was the first Heldon album for me to hear, and like so many foundational albums, it helped shaped my tastes in music rather than validate them. I was very familiar with Tangerine Dream, Ashra, and Klaus Schulze by this time (early 1986), but little else outside of Germany in the electronic field. When I saw the cover, it seemed like a can't miss proposition. Used import records back then weren't expensive so I took a chance. And was rewarded, though once again it took a long time to fully appreciate. 

The opening track is more like Richard Pinhas' Iceland (an album I'd hear a few years later), which is a long.. cold... electronic landscape. This is followed by the second Perspective which is a wild combination of synthesizers and atmospheric percussion. It's the third Perspective that enthralled me initially (and to this day). 'Baader-Meinhof Blues' is an incredibly intense piece of music and it's here that I was introduced to Professor Pinhas' 1954 Gibson Les Paul guitar. When one uses terms such as anguished, tortured, or nightmarish electric guitar, then this is the textbook definition of that. And while Pinhas is conjuring up the evil side of Hendrix, the Moog playing is magnificent. It appears to be completely improvised with the unpredictable analog instrument threatening to blow up at any moment. Like a washing machine that's about to topple over. This is followed by the one peaceful track 'Bassong' which is a guitar bass duo from two players not on the rest of the album, but both part of Pinhas' world (Gerard Prevost and Michel Ettori). The long Perspective IV is a summary of the contents before it with added doomanality (new word). Pinhas can really crush your spirit with his guitar and "melodies". After this album, Pinhas added permanent members to create more electronic rock sounding albums, that are even better (especially the last two). But these semi-solo electronic experiments prior are not to be missed. Pioneering in every way. 

Ownership: 

1976 Urus (LP). Acquired in 1986.

2005 Captain Trip (CD). Papersleeve. Acquired in 2006.

1/6/86; 9/15/06; 1/5/24 (review)

Rhizosphere (1977)

Heldon were one of the early obscure European electronic groups that I got into during my college years. While in Chicago a couple of years afterward, I stumbled upon the US pressing of Rhizosphere (on Aural Explorer), which is Pinhas' first solo album. Not surprisingly, there isn't that much difference between a Pinhas solo work and a Heldon album. Similar in that way to Edgar Froese and Tangerine Dream in the mid to late 70s. One could argue that Heldon essentially is Pinhas. However, Rhizosphere didn't excite me much on initial impact as it was a bit more static electronic than the more active and full bodied Heldon. Over the years though, I've come to appreciate his dark and heavy sequencer style, which makes the entirety of this album. Though it must be said that Pinhas' tortured trademark 1954 Les Gibson guitar is sorely missed.

What makes this CD more special is the 1982 live material from a concert in Paris. From an artistic standpoint, the two periods of music are incongruous. L'Ethique was the current album then, and Pinhas had more or less shut down Heldon by that point. In effect, it's more of a group effort and the guitar was back out front and center. And the concert is very spirited. While not a perfect soundboard recording, the type of music on display here will distract you from any sonic limitations. 

Ownership: 

2006 Captain Trip (CD) Papersleeve. Bonus tracks as described above. Acquired in 2018.

First copy: 1978 Aural Explorer (LP). Acquired in 1989.

5/24/89; 3/16/18; 6/14/22 (review)

Single Collection (1972-1980 / 2006)

A much needed single compilation from one of France's electronic pioneers. In short form, Pinhas proved to be quite the rocker more so than his electronic focused albums with Heldon and as a solo artist. I've heard most of these in bits and pieces, some sitting on cd-r's. So it's really great to have them all in one place.

The first Schizo 45 from 1972 is a real foot stomper. Heavy wah wah bass and guitars and gravelly vocals similar to the guy from Ergo Sum. It's a long way from anything Pinhas ever did afterward, but it would have been a great path to follow, had he chosen to. The second Schizo 45 (1973) is really the first Heldon work and gone are the vocals (though there's narration). The a) side finds itself on Electronique Guerilla with a different mix, but no less haunting. Patrick Gauthier's 'Torcol' is the b) side, and foreshadows Heldon's more progressive rock tracks. Both Schizo 45s are excellent and not to be missed.

The 3rd single is Heldon's Soutien a la RAF. At 15 minutes, it's really an EP (and it's 33 rpm). Released in 1975, this is where Pinhas gets back to his rocking roots of Schizo, and contains heavy Moog sequencing with his patented tortured 1954 Les Paul. One has to laugh that these were released as "singles". Not exactly AM Bubblegum here. The 4th SP release (1976) is where the Perspectives title takes hold. Recorded during the Agneta Nilsson sessions, once again it's more on the rocking side than the album proper.

T.H.X. (1978) was Pinhas' attempt to join in with JP Massiera and others for the Parisian disco set. A long way from New York's Studio 54, France had some very interesting electronic artists playing in that field. Once you get your mind around the time and place - and don't expect Heldon - then this is a very fine 45 as well. And the b) side is more traditional Pinhas solo fare, with Rhizosphere back in the limelight.

The next single is a complete mystery. I cannot find evidence it exists anywhere. There is a scan of it in the booklet, but it's too small to read. From 1977 (and they put a question mark on that too) on Cobra (catalog number 10.019), the single features two edited tracks from Rhizosphere. My best guess is this is a test press that was never released, and was in Pinhas' personal collection. Anyone know more about this?

This is followed by two singles from the East West era (1980). Arguably this is Pinhas' most commercial effort, and brings back vocals and a slight new wave edge. I was harsh on that album back in the 80s, but I found myself really enjoying the music here on this go round. 'West Side' is on both singles and is the same track, so it's only represented once here.

It should be noted that most of these - if not all - are taken straight from the vinyl, and it's obvious at times. All the same, this collection is a can't miss item for Heldon and Pinhas fans.

Ownership: 2006 Captain Trip (CD). Papersleeve. With booklet showing the credits and pictures for each entry here. There is an essay as well, but it's in Japanese. Acquired in 2021.

5/18/21 (review)

Iceland (1979)

As one can probably guess by knowing nothing more than my avatar, I'm a huge Heldon fan. They were one of my initial discoveries when first digging deep into the European underground of the 70s. It was 1985 and I was all of 20, at quite the impressionable age I might add. So Heldon is one of those bands that helped shaped my tastes in music for the future.

However, Richard Pinhas' solo works didn't have the same impact on me as his band proper, even though he was the undisputed leader of the group. In this way he deviates considerably from, say, Edgar Froese and his comparable solo efforts to Tangerine Dream. Until recent times, the only two Pinhas albums I kept from the 80s were Chronolyse (where side 2 is as heavy as anything Heldon ever did), and L'Ethique (a diverse but also powerful Heldon-like release). So what was the issue with the others? Well from my perspective the key to the greatness of Richard Pinhas is his ability to mix fat analog synthesizers with searing electric guitar (usually played on his trusty 1954 Gibson Les Paul).

It's this latter element that is missing greatly from Iceland. It is, as the title and everyone else's reviews suggests, a icy cold landscape of droning synthesizers and almost-industrial like percussion. Take away 'The Last Kings of Thule', especially Part 2, and the guitar is entirely absent. In effect, it's a static release, missing much of the dynamism of Pinhas' best efforts. In reflecting back as I hear the CD, the music is quite good for what it sets out to do - basically begging you to put a coat on even during a sunny summer afternoon. 'Greenland' is also a very fine electronic piece, definitely recalling Pinhas' trademark sequencer sound with a fine melody throughout. The 25 minute CD bonus track 'Wintermusic' is basically a long extension of 'Iceland (Part 3)', and if anything, is even more sterile and cold than the album proper.

Overall a mixed effort, worth owning for fans, but I'd save hearing this one until you've digested all of the Heldon's and the two aforementioned Pinhas solo works first.

Ownership: 2006 Captain Trip (CD). Papersleeve. Acquired in 2018.

First copy: 1979 Polydor (LP). Acquired in 1989.

1989; 6/28/18 (CD acquired / review)

Chronolyse (1978)

Richard Pinhas' second solo album is an absolute classic of progressive electronic music. The music is very much in line with what he was accomplishing with his primary vehicle Heldon at the time. The album contains seven vignettes of aggressive Moog sequencing, and one longer electronic piece on Side 1. And on the flip, there's a 30 minute brain blaster of guitar-bass-drums and electronics in the best Heldon tradition. A fine companion album to Heldon's Stand By. Brilliant.

Ownership: 

1978 Cobra (LP). Acquired in 1991.

2006 Captain Trip (CD) Papersleeve. Acquired in 2017.

1991; 1998; 8/10/17 (review)

L'Ethique (1982)

Unlike the 1970's era Heldon albums, all of which I can unconditionally recommend, the same cannot be said for Pinhas' solo works from the same period. Rhizosphere is a static electronic album, Iceland is as chilling as its name, whereas East West shows Pinhas trying his hand at more commercial material. But two albums stand out: Chronolyse (1978) which is perhaps the best of the lot and the album of today's post: L'Ethique.

L'Ethique was an excellent way for Pinhas to close shop (and he didn't truly resurrect for at least another 10 years). It's a concise summary of his musical career to that point. The four part title track, spread evenly throughout the disc, demonstrates what I think he was trying to do on East West, except with far better results (and it helps immensely that he buries some of his patented tortured guitar into the mix). The two part 'The Wailing Wall' follows down this trek, but is even more powerful, especially the smoking guitar and sequencer runs of Part 1. 'Melodic Simple Transition' represents his pure electronic side. But best of all, is the return of his King Crimson inspired heavy rock jams, as found on the last two Heldon albums and 'Chronolyse'. These are represented by 'Dedicated to K.C.', 'Belfast' and the bonus track 'Southbound' (taken from the Perspective compilation). This is one of those albums that opened musical doors for me.

Ownership: 

1982 Pulse (LP). Acquired in 1986.

1992 Cuneiform (CD). With bonus track as noted above. Acquired in 1996.

1986; 1996; 5/19/11 (review)

Allez-Teia (1975)

Continuing our trek through the Heldon catalog, we enter the famed number II. Of all the Heldon albums, this is by far the most mellow, with a proliferation of acoustic guitar calming down the proceedings just a little. The subversive feel of the debut is maintained throughout however, and anarchy seems just around the corner. Deep, heavy, thoughtful music. While heavily influenced by Robert Fripp, Professor Pinhas was trekking down an individual path, and is now considered a legend in his own right. A lot of name dropping in the track titles, something that became vogue in the 2000s, but wasn't as common in the 70s. Amongst the more obscure, 'Fluence' references Pascale Comelade, where Pinhas was featured heavily on the self-named album for the Pole label. While 'Michel Ettori' refers to the sometimes Heldon guitarist. A highly regarded album and rightly so. The real underground of the 70s is featured here.

Ownership: 

1975 Urus (LP). Gatefold. Acquired in 1988.

2005 Captain Trip (CD). Papersleeve gatefold. Acquired in 2005.

2//88; 2005; 6/18/10 (review)

Electronique Guerilla (1974)

All of the Heldon albums are special, and the first is no exception. It's more raw and primitive, and that's part of its charm. Moog synths with searing electric guitar work define the album. An anarchic left wing vibe gives it a radical student atmosphere, befitting Professor Pinhas' role.

I found an unpublished summary that I wrote in 2006 about Heldon's early albums: A proper discussion of French electronic music cannot be had without at least a passing mention of Heldon. Lead by the mercurial Richard Pinhas, a professor of Philosophy at Le Sorbonne, and master of electronics and guitar. The early albums, generally accepted as the first three, exude the feeling of the underground - a true rebellion to all things that are commonly accepted. Subversive. One can only wonder what role Pinhas would’ve had in the French Revolution, but I get the impression he would’ve made the history books. And, in some ways, he has made the history books, even if the subject in question are more for connoisseurs than the general public.

Ownership: 

1975 Urus (LP). Acquired in 1987.

2005 Captain Trip (CD). Papersleeve. Acquired in 2006.

1987; 2006; 2/10/10 (review)

Also own: Un Reve Sans Consequence Speciale; Interface; Fossil Culture

2/10/10 (new entry)

Blood Of The Sun ~ USA ~ Fort Worth, Texas

Blood of the Sun (2004)

---Nov 2004

Blood Of The Sun is Dave Gryder’s new group, or I should say, the latest group he’s a member of. If you at all have any interest in the stoner rock genre, then this should go to the top of the list. This is a six piece with lead and rhythm guitar, bass, drums, and a dedicated vocalist who reminds me of the guy from Monster Magnet. What separates Blood Of The Sun is the heavy use of organ, clavinet, and electric piano which are all played by Dave. Every track pretty much jams, with good breaks, fuzz leads, and more ideas than what is usually found in stoner music. Definitely early 70’s influenced with a raw production that sounds modern but is clearly geared with an eye on the past. On the underrated Brainticket label (Liquid Sound Company) which is based just down the road from here (ED: When we lived in the Fort Worth area). Great stuff and highly recommended to those that have sat through too many mediocre albums from the genre.

---4/27/26

Starting off with cowbell (of course it does), the heavy fuzz guitar joins the fun, followed by Gryder's Hammond organ. Then comes the tough-guy vocals, and we have arrived into the American early 70s past that was once dominated by the likes of Grand Funk Railroad, Mountain, and Rare Earth. Though I referred Blood Of The Sun above as part of the stoner rock genre, it may be more fair to describe it as retro hard rock. It's purposely non-metal, the guitar tones belonging more to the heavy psych genre of the late 60s and early 70s.

Blood Of The Sun's debut is mostly one dimensional hard rock - high energy and heavy all the time. Though, as noted above, it does allocate for some tempo changes and a few ideas per song. Essentially the band has removed the wheat from the chaff. For hard rock aficionados, that is. 

Ownership: 

2004 Brainticket (LP). Clear vinyl. Acquired in 2004.

2004 Brainticket (CD). Booklet has a photo collage of the band performing in a curtained room that looks like it was from 1973. Imagine that? Acquired in 2004.

11//04 (review); 4/27/26 (update)
 

Burning on the Wings of Desire (2012)

Burning on the Wings of Desire is the 4th album from Fort Worth, Texas' Blood Of The Sun. The modus operandi of the band is to recreate the hard rock culture of 1974 to the smallest detail. And to that end, the band succeeds greatly. Band leader Dave Gryder is an unreconstructed 1970s fiend, and it's his Hammond Organ that's out front and center along with the raunchy hard rock (never metal) guitars. The vocals are of the "tough guy" variety and all the tracks are about a lovin' and a rockin' and good times had by all. Wide lapels and rose colored glasses - hair over the ears with a pornstache. It's Saturday night at Barney's Ballroom in Steeltown, Ohio. It's so dark, you need a miners hat to see, and you're sticking to the floors - and it's best not to know why.

Though Gryder has listed a Hohner Clavinet, Mellotron, and other fun analog toys, one only hears the organ on Burning on the Wings of Desire. Wino (yes, that Wino) sings on 'Good and Evil', an homage to the era's tendency to close an album with a more thoughtful number.

If you can't get enough of bands like Bloodrock, Grand Funk Railroad, Mountain, and other popular hard rockers from the good ole' USA, then Blood of the Sun gives you the extract version of that. Be mindful not to OD son.

The slipcase shows a naked woman on both sides (of course it does).

Ownership: 2012 Listenable (CD). Acquired in 2015.

4/18/15; 7/14/18 (review)

Also own: In Blood We Rock; Death Ride

7/14/18 (new entry)

Drum Circus ~ Switzerland

Magic Theatre (1972 / 2003)

---Nov 2004

The 21 minute title track is unlike anything I’ve ever heard (when was the last time you could say that?). I cannot compare it to anything. It’s purely avant-garde rock. I could see it having an academic title like “Modern Percussion and Spoken Word Concerto with Rock, Jazz, and Eastern Instrumentation”. It’s the sort of track that gets in your head and eventually becomes a masterpiece, or you realize at some point it’s all just nonsense. I’m not sure where it will go yet with me. Dzyan's Peter Giger is the primary composer on Magic Theatre. His other two compositions aren’t that much easier to digest with Timothy Leary providing the "enlightened" lyrics. Joel Vandroogenbroeck’s short offering reminds me of the opening tracks of Cottonwood Hill. Otherwise, the album has a distinctly MPS jazz-rock school approach ala Association P.C. The eight minute ‘Groove Rock’ is the highlight of the album (from drummer Alex Bally) and it comes from this latter school. Clearly this is not a cohesive effort and each tune represents what they would do on their own. A really weird album, but one that is strangely satisfying.

---4/27/26

And that was the last time I heard this CD. Brainticket's Joel Vandroogenbroeck is the primary difference between this being an all-percussion album, and something far more dimensional. He plays organ, piano, flute, and sitar. Other than saxophone and bass, those are the featured instruments. 'Groove Rock' really does live up to its name, and has one mesmerizing driving beat. Gerd Dudek's saxophone, while quite spirited, is mostly in control and very enjoyable. I find the five shorter tracks here (would be Side 2?) to be the stronger material here. The lengthy title track opens up, though, after hearing the remainder. Perhaps it should have been presented last, to give better context.

Of interest, the other drummer-leader of the band, Marc Hellman, would later be found in the obscure group Lost Peace, a CDRWL favorite.

Ownership: 2003 Garden of Delights (CD). Thick booklet with historical liner notes and many archival photos. Acquired in 2004.

11//04 (review); 4/27/26 (update / new entry)

2026 Fusion / Jazz Journal Vol. 3

Dissidenten - The Jungle Book. 1993 Wordly Dance Music (CD). This is exactly the kind of CD's I look for in the 25 cent bins. Originally known as Embryo's Dissidenten, the group's premise was to take the blueprint of Embryo's Reise and expand upon it. Catalogs of the day promoted Sahara Electric as the next level of world fusion (and I of course fell for it). Not really. For one, there really wasn't a rock component, which was the key reason Reise was such a strong effort from Embryo. Dissidenten largely falls under the vague World Beat categorization. One can expect lots of ethnic taped samples among the beats and rhythms. Sahara Electric was all about Morocco. The Jungle Book is India. Oftentimes the music comes across as gimmicky and annoying. Though it's not without merit. It's a serious effort, though one wishes for more angst and variety. Roman Bunka does guest on guitar, but his contributions are mostly muted. The label name is indicative of the contents within. (4/19)

Jaco Pastorius. 1976 Epic (LP). Famed jazz bassist Pastorius' debut album. The opening is essentially a bass solo, so I'm already looking for something to do. 'Come On, Come Over' is straight up funk with Sam & Dave on vocals, and a full horn section. 'Continuum' is a moody atmospheric piece in the ECM mold. A4 is the expected fusion number that has finally arrived. With orchestration. The side closes with another bass solo. The track by track descriptions point to the usual problem of solo albums - that of random style choices. While no doubt most artists like to demonstrate that they have more tricks up their sleeve than what they're known for, it can also be frustrating for the listener who isn't necessarily all-in with the artist. Side 2 is similarly disparate. The album enjoys high ratings from the general population, despite my misgivings. Hardline loyalists? Died early syndrome? No telling, everyone has their filters. Good jazz oriented album - of course it is - but nothing that grabs this listener beyond the usual. (3/8)

Don Randi & Quest - New Baby. 1990 Sheffield Lab (CD) (1979). As is often the case with the Sheffield Lab label, interest in this title has more to do with the recording details, and audiophile sound, than the music itself. I pick up anything I see from the label, and ask questions later. This title was listed as jazz funk, so I held it back for a future listen. And that day has arrived. The first track had me questioning both the jazz and funk tags, as it's more from the new age school. But once the title song lands, then yes, jazz funk is correct. It's definitely of the era, with some nice piano (both acoustic and electric) from Randi, along with trumpet, flute, and sax. Soft on the ears, it makes for a pleasant Saturday afternoon listen. Requisite Beatles cover provided. A little more depth would have resulted in an album that invites repeated plays, and thus would have been put in the keeper category. I'll go ahead and grab the profit on this one. (3/7)

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.

Former ownership: 1987 Mercury promo (LP). Acquired in 2024. Downsized in 2026.

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. Green label. Upgraded in 2025.

Warner Bros. (CD). 2000's press. Acquired in 2006.

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. Downsized in 2018.

2005; 7/10/16 (review)

Other albums I own: 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)