T. Inomata & Sound L.T.D - Sounds of Sound L.T.D.
Blue Oyster Cult - The Revolution By Night
Dillinger - Don't Lie To The Band
Friday, July 31, 2026
Heldon / Richard Pinhas ~ France
Interface (1977)
---2006
If there’s a Heldon album that is quintessential, it’s Interface. It may not be their best (that would be the last one Stand By IMO), but it’s close and it represents all facets of their sound at their peak. The violent guitar of ‘Jet Girl Part II: In South Bronx’ represents the harsh bleakness of Pinhas’ sound more than anywhere in the discography
---7/31/26
And now we finally close off documenting my collection of the classic seven album run of Heldon. I'm not entirely sure where Interface fits in my initial foray into the Heldon catalog, but I think it was second after Agneta Nilsson. That one came at the beginning of 1986. This would have been the same time, one year later. My documentation back then was haphazard at best, and some of the dates have been retrofitted based on memory (though it was long ago I did this). But for certain Interface was the album that sealed my love for Heldon. I still get goosebumps listening to 'Jet Girl'. In fact, let's talk about that.
After an energetic Moog, bass, and drums opener, the nightmare begins. If 'Stand By' is the ultimate blistering guitar trio attack, the two part 'Jet Girl' represents Pinhas at his most anguished. The guitar sound is unreal. This track just exudes intensity and anger. The title is irony at its best. Part 1 is 'New York or Paris, Equivalent'. Hardly a soundtrack to a skipping young lady's birthday party. 'In South Bronx' slows it down to a heavy burn. Scorched Earth. One imagines Professor Pinhas wandering the unlit streets of the South Bronx, which would have been a treacherous thing to do, especially in the 70s. But being the ultimate subversive, one presumes he could care less.
A4 is the same lineup and approach as A1. This time even more energetic, with some very fine keyboard soloing. A5 starts off experimental, but it doesn't take long before you're immersed in the swirling keyboard sounds. Francois Auger was such a perfect drummer for Heldon. Like Klaus Krueger with Edgar Froese, he really accelerates the pace of everything he's on. A5 closes off Side 1 with the same motif as A1 and A3, except this time Pinhas lets it rip hard on his 1954 Gibson Les Paul.
That sets us up for the 19 minute title track. Buckle up kids, time to get serious! After eight minutes of tribal drumming, echoed found sounds, and Moog sequences, you know what's coming right? Oh yea, Pinhas starts off in full sustain mode, and he's ready to blow your head off. Which he subsequently does. Heavy guitar at its finest. It's not prog rocky like Stand By, more like unrelenting madness. You will be exhausted if you are at all paying attention.
The CD adds 8:30 minutes worth of 'Interface' recorded live at La Palace, Paris, 1978. I'm not one to often say "I wish I was there.". But, you know, I wish I was there.
For those of you who have known me for any length of time, then you'll also know that this album cover is my avatar. There are many reasons for that, but I often feel like I'm that thing / person. An alien lost in this world. Note the match on the helmet. What does that signify? For debate.
Ownership:
1977 Cobra (LP). Gatefold. Acquired in 1987.
2005 Captain Trip (CD). Papersleeve gatefold. Comes with an insert with recording details. Another insert with two photos, including his most iconic: Pinhas standing in front of his big Moog with a bank of knobs, looking cold and angry, with a cigarette between his fingers. And a poster of Interface behind him. Also includes two live bonus tracks as noted above. I also own the Japanese promo box, which houses four of these titles, and features this cover.
Hi Eric! :-)
1987; 2006; 7/31/26 (review)
Un Rêve Sans Conséquence Spéciale (1976)
This is Heldon's 5th album and the first to feel more like a band effort than a Richard Pinhas solo work. Not surprisingly, we see Heldon's ratings start to go up at this point as well. The nearly 12 minute opener does not mince its sound. It's a crushing assault of your senses with raging guitar and synthesizers. Francois Auger is now on board to provide the key ingredient of rock styled drums. After such a powerful opening, Heldon reverts to a weird hybrid electronic track with Pinhas on the Moog, and Auger providing a lot of percussion. It's a new sound for them. B1 is a thick and muddy electronic number with pounding drums and added bass. The 15 minute 'Toward The Red Line' closes the album. Now doesn't that sound promising? This track could be seen as the upward ramp from 'Baader-Meinhof Blues' to 'Stand By'. It possesses the former's absolute bonkers Moog sequencing. From the latter comes the power trio aspect with Pinhas' fiery 1954 Les Paul guitar leading the way. Along for the ride is Magma's Jannick Top on bass while Auger goes crazy on the drum kit. Heck yea.
Really hard to imagine the American based jazz fusion label Inner City thought Heldon would be a big seller over here. Almost as crazy as A&M signing up Magma for two albums. At least Inner City could cut bait after only one.
The bonus tracks on the CD are not to be missed. They are labeled Live 1978, so I don't think they are the same as what was on the Perspectives compilation. 'Perspective 4ter MUCO' isn't on any other Heldon archival release. It may just have a unique name. But it's a banger of a track, capturing Heldon in full power trio mode. 'Marie Virginie C.' has been represented live prior (the aforementioned Perspectives), though this is from one year later. It's faithful to the original from the album proper, and will light your stereo in flames.
Ownership:
1976 Cobra (LP). Acquired in 2011.
2005 Captain Trip (CD). Papersleeve with two inserts and two bonus tracks (one more than the US reissue). Acquired in 2006.
First copy: 1977 Inner City (LP). Acquired in 1987.
1987; 2006; 6/4/26 (new entry)
Third: It's Always Rock'n Roll (1975)
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)
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.
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.
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.
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 January 1986 and I was all of 21, 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.
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 Interface and Stand By. Brilliant.
Ownership:
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:
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:
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:
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.
Rhizosphere (1977)
1/6/86; 9/15/06; 1/5/24 (review)
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)
5/24/89; 3/16/18; 6/14/22 (review)
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)
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)
Ownership:
1978 Cobra (LP). Acquired in 1991.
2006 Captain Trip (CD) Papersleeve. Acquired in 2017.
L'Ethique (1982)
1991; 1998; 8/10/17 (review)
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)
Ownership:
1975 Urus (LP). Gatefold. Acquired in 1988.
2005 Captain Trip (CD). Papersleeve gatefold. Acquired in 2005.
2//88; 2005; 6/18/10 (review)
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: Fossil Culture (with Peter Frohmader)
2/10/10 (new entry)
Banco del Mutuo Soccorso ~ Italy
Darwin! (1972)
The middle album in Banco del Mutuo Soccorso's incredible three album start, many consider Darwin! the best of the lot. I've long held the opposite view, though by no means is that a condemnation. I think it's an excellent album with the others, but not quite at the same level. Today I'm going to dig into why I might think that. Or have a change of mind.
The stylistic brush is wider here than the other two albums. Some of the compositions seem odd for Francesco di Giacomo's operatic voice. It's a bit showtooney. Hard to explain but you hear this peculiarity on A1 and B2 in particular. I picture him dancing with a cane in hand during these sections. Which is not Banco DMS - at all. If looking for a song that befits his incredible voice, B3 would be a good example. And is arguably the best cut here.
What separates this album is the lack of that one great track. The opener of Io Sono Nato Libero is a stunner that leaves one speechless. Their debut has three brilliant pieces as noted below. Saying that, Darwin! definitely brings the goods, primarily with the keyboard breaks.The final two tracks are more experimental in nature. I'm beginning to think I might enjoy Come in un'Ultima Cena a little better at this stage. Regardless, still an essential album in any Italian prog rock collection.
Ownership: 1972 Ricordi (LP). Gatefold with lyric inner bag. Acquired in 1989.
1989; 2004; 11/21/15; 7/31/26 (review)
Banco del Mutuo Soccorso (1972)
The debut album by one of the pillars of the Italian progressive rock movement. As good as advertised, Banco DMS brings out all the elements that made them so stellar: Dual keyboards, heavy guitars, complex rhythms, and the operatic male vocals sung in glorious Italian. Highlights include long time favorites such as 'R.I.P', 'Metamorfosi', and the lengthy 'Il Giardino del Mago'. For my tastes, this comes in second place to the almighty Io Sono Nato Libero. Table stakes for any progressive rock collection.Ownership:
Garofano Rosso (1976)
The odd album out in the Banco del Mutuo Soccorso canon, though they were to repeat it again on Di Terra. That is, this is Banco without vocals. Francesco di Giacomo is such an integral part of the band, it doesn't seem possible to hear the music without him. And he's still a member, being credited here with "documentazione". The music (a soundtrack to an Italian TV series) is still patently Banco DMS, though they're changing with the times and adding more jazzy elements to their sound. The Nocenzi brothers continue to lead the band with their organs, pianos, and synthesizers ripping away. You'll hear some familiar themes from past albums as well. The music isn't as edgy or as epic as their earlier efforts, but taken on its own account, Garofano Rosso is a fine listen.Ownership: 1976 Manticore (LP). Textured sleeve. Acquired in 2021.
Io Sono Nato Libero (1973)
After two remarkable albums to start their career, could Banco del Mutuo Succorso maintain the momentum for a 3rd? The answer is a resounding YES. The sextet possessed so much talent, in both instrumentation and composition, it seemed that their imagination was endless. But the heroes of the band remain the Nocenzi brothers, who bring an arsenal of vintage keyboards, along with the latest in synthesizer technology. They play off each other as only two brothers could - each knowing what the other is thinking before they think it themselves. If I had to pick just one song from Banco's canon, it would be Io Sono Nato Libero's opener 'Canto Nomade per un Prigioniero Politico' which packs a wallop, and goes in dozens of different directions. Giacomo's powerful operatic voice sends the message home, that yes, we are born free! To take this even further, when someone asks me to play one representative of Italian prog, this is the track I pull out. The album doesn't stop there, as Banco mixes melody, complex instrumental sections, intense passion, and immense creativity. For my tastes, Io Sono Nato Libero is the best Banco has to offer, and considering the stiff competition, that's quite an achievement.Ownership:
The debut album by one of the pillars of the Italian progressive rock movement. As good as advertised, Banco DMS brings out all the elements that made them so stellar: Dual keyboards, heavy guitars, complex rhythms, and the operatic male vocals sung in glorious Italian. Highlights include long time favorites such as 'R.I.P', 'Metamorfosi', and the lengthy 'Il Giardino del Mago'. For my tastes, this comes in second place to the almighty Io Sono Nato Libero. Table stakes for any progressive rock collection.Ownership:
1972 Ricordi (LP). Piggy bank shaped cover. Crazy packaging and difficult to store. I have it on a night stand laying flat by itself. Acquired in 2000.
1972 Ricordi (LP). Gatefold. Acquired in 1988.
2003 BMG Japan (CD). Papersleeve edition that mimics the original piggy back design. Acquired in 2003.
12//88; 2003; 1/9/24 (review)
The odd album out in the Banco del Mutuo Soccorso canon, though they were to repeat it again on Di Terra. That is, this is Banco without vocals. Francesco di Giacomo is such an integral part of the band, it doesn't seem possible to hear the music without him. And he's still a member, being credited here with "documentazione". The music (a soundtrack to an Italian TV series) is still patently Banco DMS, though they're changing with the times and adding more jazzy elements to their sound. The Nocenzi brothers continue to lead the band with their organs, pianos, and synthesizers ripping away. You'll hear some familiar themes from past albums as well. The music isn't as edgy or as epic as their earlier efforts, but taken on its own account, Garofano Rosso is a fine listen.Ownership: 1976 Manticore (LP). Textured sleeve. Acquired in 2021.
First copy: 1979 Ricordi (LP). Acquired in 1991.
1991; 9/17/16; 12/26/21 (review)
After two remarkable albums to start their career, could Banco del Mutuo Succorso maintain the momentum for a 3rd? The answer is a resounding YES. The sextet possessed so much talent, in both instrumentation and composition, it seemed that their imagination was endless. But the heroes of the band remain the Nocenzi brothers, who bring an arsenal of vintage keyboards, along with the latest in synthesizer technology. They play off each other as only two brothers could - each knowing what the other is thinking before they think it themselves. If I had to pick just one song from Banco's canon, it would be Io Sono Nato Libero's opener 'Canto Nomade per un Prigioniero Politico' which packs a wallop, and goes in dozens of different directions. Giacomo's powerful operatic voice sends the message home, that yes, we are born free! To take this even further, when someone asks me to play one representative of Italian prog, this is the track I pull out. The album doesn't stop there, as Banco mixes melody, complex instrumental sections, intense passion, and immense creativity. For my tastes, Io Sono Nato Libero is the best Banco has to offer, and considering the stiff competition, that's quite an achievement.Ownership:
1973 Ricordi (LP). Rounded corner sleeve with a booklet in the same shape stapled inside. Acquired in 2000.
Banco del Mutuo Succorso would be a good example of my concept of "bands as brands". With charismatic opera styled singer Francesco di Giacomo and long time guitarist Rodolfo Maltese no longer with us, there's no chance for a true reunion. In addition, the original rhythm section is nowhere to be found. And finally, brother Gianni Nocenzi hasn't been with the band for some 35 years. That leaves only keyboardist Vittorio Nocenzi carrying the torch. In tow are five new members, each talented in their own right. So if Banco were to remain an functioning entity, it could very well do so even if V. Nocenzi can no longer participate, or even want to.
This prelude is poignant with Banco del Mutuo Succorso because Transiberiana lays out a blueprint for the future, not a retread of the past. When looking at the history of the band, they were leaders of the original Italian prog movement, and their records in this style spanned only six to seven years. Which for a typical Italian prog band is a lifetime of records, but from a chronological standpoint, it's a very small period of time. Then "Banco" became a pop band throughout the 80s. They returned to participate in the 90s progressive rock renaissance, but mainly as a live act mostly recreating the past. As for new music, nothing special ever surfaced. Their highest rated albums are simply new recordings of past compositions.
Until now. Transiberiana has all the earmarks of the past, including the depth of composition, the talent of the musicians, and those oh-so-critical turn-on-a-dime musical breaks. This is the music of 1973 Banco del Mutuo Succorso moved up 46 years. It sounds every bit like an album from 2019, and the new members bring many contemporary influences to the table. It's up to Nocenzi to school the others on what it's like to be a part of the legacy that is Banco del Mutuo Succorso. And he's done a great job at that, and one gets the sense the band could continue in this vein for many years - evolving the brand as it were. Is this the best Banco album? No. It would be nigh impossible to beat their trio of original albums, perhaps the greatest three album run in history. And Come in un'Ultima Cena is another tough one to top. But their best album in the last 42 years? Yes, most assuredly it is!
Ownership: 2019 Sony / InsideOut (CD). Digibook. Comes with a 44 page booklet, though much is duplicated in English from the original Italian. Acquired in 2020.
Banco del Mutuo Succorso started their career with what many consider the greatest three album run in all of Italy, and one could argue for progressive rock in general, competing mightily against the likes of Genesis and Yes. Then silence. 1974 blew by, and 1975 saw only the requisite might-break-in-the-States-probably-not English language album, that featured unique arrangements, but a bit watered down from the massive beasts they opened with. By 1976, Banco confusingly released an all instrumental soundtrack album, that has little to do with their namesake. And finally we get to Come in un'Ultima Cena, their true follow up to Io Sono Nato Libero. Since they were still signed with Manticore, the band were obligated to do a co-release in English (As in a Last Supper). Nevertheless, that version didn't see an English language country release (until 2010!), having been dumped into Germany as an afterthought. And so this was the last hurrah for the classic Banco del Mutuo Succorso as we knew them. They had one more fantastic instrumental album left in them (Di Terra) and off the pop cliff they went, only to return during the prog revival years. But they were broken.
This premise leads to the album itself. It's important to understand the background from which Banco entered into this recording. And let's not forget the 1976 landscape in general, where progressive rock in Italy were in their last throes of survival. And that provides the story here. This is Banco neutered and ready for a domiciled life. No more hunting in the wilds for their food. Once that premise has been accepted, then the album can now enter your stereo for a proper listen. It's the name Banco del Mutuo Succorso that usually holds this album back. But a careful listen on its own, demonstrates the same intense progressive rock composition style. Di Giacomo is also in fine form here, perhaps a bit more strained than prior. But the edge of the instrumentation is gone, along with the youthful exuberance. It's progressive rock by professionals. Which means, it's an excellent album throughout. And yet, you know they can do better. My rating reflects more an objective viewpoint in this case, rather than my usual subjectivity. I owe them that.
2003 BMG Japan (CD). Papersleeve. Replicates the above cover. Acquired in 2006.
First copy: 1978 Ricordi (LP). Acquired in 1989.
1989; 2000; 2006; 8/25/21 (review)
Transiberiana (2019)
This prelude is poignant with Banco del Mutuo Succorso because Transiberiana lays out a blueprint for the future, not a retread of the past. When looking at the history of the band, they were leaders of the original Italian prog movement, and their records in this style spanned only six to seven years. Which for a typical Italian prog band is a lifetime of records, but from a chronological standpoint, it's a very small period of time. Then "Banco" became a pop band throughout the 80s. They returned to participate in the 90s progressive rock renaissance, but mainly as a live act mostly recreating the past. As for new music, nothing special ever surfaced. Their highest rated albums are simply new recordings of past compositions.
Until now. Transiberiana has all the earmarks of the past, including the depth of composition, the talent of the musicians, and those oh-so-critical turn-on-a-dime musical breaks. This is the music of 1973 Banco del Mutuo Succorso moved up 46 years. It sounds every bit like an album from 2019, and the new members bring many contemporary influences to the table. It's up to Nocenzi to school the others on what it's like to be a part of the legacy that is Banco del Mutuo Succorso. And he's done a great job at that, and one gets the sense the band could continue in this vein for many years - evolving the brand as it were. Is this the best Banco album? No. It would be nigh impossible to beat their trio of original albums, perhaps the greatest three album run in history. And Come in un'Ultima Cena is another tough one to top. But their best album in the last 42 years? Yes, most assuredly it is!
Ownership: 2019 Sony / InsideOut (CD). Digibook. Comes with a 44 page booklet, though much is duplicated in English from the original Italian. Acquired in 2020.
7/16/20 (review)
Come in un'Ultima Cena (1976)
This premise leads to the album itself. It's important to understand the background from which Banco entered into this recording. And let's not forget the 1976 landscape in general, where progressive rock in Italy were in their last throes of survival. And that provides the story here. This is Banco neutered and ready for a domiciled life. No more hunting in the wilds for their food. Once that premise has been accepted, then the album can now enter your stereo for a proper listen. It's the name Banco del Mutuo Succorso that usually holds this album back. But a careful listen on its own, demonstrates the same intense progressive rock composition style. Di Giacomo is also in fine form here, perhaps a bit more strained than prior. But the edge of the instrumentation is gone, along with the youthful exuberance. It's progressive rock by professionals. Which means, it's an excellent album throughout. And yet, you know they can do better. My rating reflects more an objective viewpoint in this case, rather than my usual subjectivity. I owe them that.
Ownership: 1976 Manticore (LP). Comes with a 16 page booklet. Reacquired in 2017. First purchased in 1996.
1996; 3/4/17 (review); 4/16/23
Also own: Di Terra; Canto di Primavera
Once owned: Capolinea; Da Qui Messere Si Domina La Valle
3/4/17 (new entry)
Miklagard ~ Sweden
---Feb 2006
Miklagard's sole album is bread and butter keyboard trio prog rock, with nice leads (some fat analog, some thin cheesy), and the always pleasant sound of Swedish vocals.
---7/31/26
And that was my last listen, some 20+ years ago. Straight and to the point. Let's stretch it out a bit here. The cover (and label) is a dead giveaway we're going into proggy lala land. Jesters weren't quite as cliched in 1979 as they were to become, largely thanks to Marillion and their ilk.
The album starts off with a Hammond organ, so you know we're not going to stray too far away from a pleasurable listen. Yea, ELP is front and center here in the influence category. But the Swedish vocals definitely add a twist and give the album a unique sound palette. Even though most of the cuts are short, save the closer, Miklagard packs in quite a few ideas per composition. Perhaps Trace or Triumvirat are more accurate guideposts given the Continental European disposition. Nothing wrong with that. B2 is a nice piano solo. B3 is, not surprisingly given its length, the most traditional progressive rock track here, with some cool spoken word in Swedish (similar to Trettioariga Kriget). The drum solo reminds me of In-A-Gadda-Da-Vida, one that is actually enjoyable to listen to. Not just spazzing out.
So what is a Miklagard anyway? Constantinople as it turns out. Istanbul. The album proper seems to have no connection whatsoever with the moniker. I think it literally means Great City.
Unlike most prog albums of its kind, you can still pull new copies out of Sweden for around $10 (or less). Guessing they pressed way too many copies. But at least they didn't throw them away. As of 7/31/26, the album has not been reissued (legit that is).
Ownership: 1979 Edge (LP). Acquired in 2006.
2//06; 7/31/26 (review / new entry)
Monday, July 20, 2026
October Equus / Angel Ontalva ~ Spain
Angel Ontalva - Mundo Flotante (2012)
---5/2/13
Ontalva is the guitarist for October Equus, and even though the album is under his name, it's a full band effort made up of members of... October Equus! The difference is this is complex and melodic rather than complex, cold, clinical, and dissonant like the last OE album was. They probably should have just chosen a new name for the band, but who cares really, as this is great. Highly recommended! I hope there's more from this water well to draw from.
---7/20/26
Now what could possibly make me think of Spain today? :-)
Angel Ontalva is the primary mover and shaker behind October Equus. Obviously a creative individual with energy and many ideas to burn. In addition to his primary group, Ontalva has released many solo albums, along with collaborations. Most famously with the Russian space rock collective known as Vespero. Many of his albums are on cdr or online only. His solo debut is Mundo Flotante, a fully realized work manufactured on CD. This is also the debut for the OctoberXart label, Ontalva's primary vehicle for his releases.
So what distinguishes this release from his flagship group? In researching my question, I discovered the review I wrote above (not previously in UMR though). I didn't know I did that! Haha, well the answer is there. Melodic is the keyword. There's a distinct Canterbury feel, not so much that its whimsical or filled with jams loaded with fuzz keyboards, but rather it has a similar compositional take on the jazz rock idiom. The title of the album is what one would call a clue. Reference Soft Machine archival albums at your leisure.
I can also hear parallels to what Patrick Forgas was doing with his Forgas Band Phenomena project. Funny that I just mentioned the same thing on Edition Speciale's Horizon Digitale review. Mr. Forgas is dominating my thought process of late.
Ownership: 2012 OctoberXart (CD). Booklet with artwork and recording details. Acquired in 2013.
5/2/13 (review); 7/20/26 (update)
October Equus (2006)
One never knows when a new force enters into the progressive rock landscape. Steven Wilson meekly introduced himself with his bedroom tapes for Porcupine Tree. Fabio Zuffanti was somewhat anonymous when he hit the world stage with Finisterre. And a one Angel Ontalva announced his presence with a new band called October Equus. Though in this case, Ontalva showed up with a bang, dominating the sounds around him.
Saturnal is the 3rd album from arguably Spain's most complex rock band. Their first album was almost like a psychedelic Present (Belgium), a very interesting combination that I found highly appealing. With each subsequent release, October Equus ups the ante on complexity, while toning down the more jamming aspect of their sound. It's pretty clear this is a band that now must play live with scored music charts, rather than rehashing more simple material and letting loose on occasion. On Saturnal, October Equus has entered the realms of a new force of music - one that was pioneered by Thinking Plague - and now mastered by many more. Sophisticated, dense, mathematical, academic are a few adjectives that can describe the music within. It's the blueprint sound of the AltRock label. Avant progressive at its most pure. And for me, each new album becomes a little less exciting but more intelligent. The fun and creative high school kid is going to be a doctor. His mother would be proud.
Overall, I still find October Equus to be an excellent band. I just wish they'd loosen up a bit.
Former ownership: 2011 AltRock (CD). Acquired in 2012. Downsized in 2024.
One never knows when a new force enters into the progressive rock landscape. Steven Wilson meekly introduced himself with his bedroom tapes for Porcupine Tree. Fabio Zuffanti was somewhat anonymous when he hit the world stage with Finisterre. And a one Angel Ontalva announced his presence with a new band called October Equus. Though in this case, Ontalva showed up with a bang, dominating the sounds around him.
When October Equus' debut arrived, I was all about the sound they were creating. Looking at some old notes, I started at a 5 star masterpiece, something I almost never do. They mixed the aggressiveness of Belgium's Present with the psychedelics of France's Nebelnest's debut to create what I considered the perfect recipe. Over time, I've dropped the album a full two points, which still keeps it in the excellent category. Music like this almost immediately finds itself out the door, as I feel I have too much of it. Generally I keep the ones of personal historical interest, that I first discovered in the 80s and early 90s. And yet, I still found myself enjoying the heck out of this one - clearly a cut way above the norm. It's more the Nebelnest influence that holds my interest here - there is a warmness to that sound that balances the cold rigid complexity that avant prog represents. I continued buying October Equus albums through 2013's Permafrost, though I'm not sure how many of those remaining three will remain, but for certain the debut will be here for the long haul.
Ownership: 2006 Ma.Ra.Cash (CD). Historical footnote in English on what October Equus means. Recording details on the back tray. Acquired in 2006.4//06; 8/13/22 (review)
Saturnal (2011)
Overall, I still find October Equus to be an excellent band. I just wish they'd loosen up a bit.
Former ownership: 2011 AltRock (CD). Acquired in 2012. Downsized in 2024.
3/12/12 (review); 9/20/22
Also own: Charybdis; Permafrost
3/12/12 (new entry)
Friday, July 10, 2026
Edition Speciale ~ France
Horizon Digital (1978)
---2008
Horizon Digital has long been considered my favorite of their three albums. The group started inauspiciously with Allee des Tilleuls, a misfired attempt at American funk (ed: want to hear this again given my later interest in funk). But the follow up Aliquante was a punch between the eyes – a fast paced, tightly interwoven instrumental fusion album, indebted to Mahavishnu Orchestra to be sure, but of the highest quality. Most folks rate Aliquante the best, and it's understandable why. Horizon Digital combines the high energy fusion of Aliquante with a much better understanding of the funk they tried on their debut. After mixing those two, they took the end product and added some Zeuhl elements, ala Zao, to create a diverse, and highly creative effort.The CD also includes five bonus tracks (totaling around 27 minutes) of a proposed 4th album from 1980. These tracks are fully developed and show the band incorporating the French New Wave movement. One can hear the same type of sounds as also found on Superfreego, Lievaux – Transfo, Foehn, and Odeurs.
Previously owned: 2007 Musea (CD). Booklet with history and five bonus tracks. Acquired in 2008.
---7/10/2026
And that's the last time I heard Horizon Digital, missing the advent of UMR by one year. Time to build out a band page for Edition Speciale. It's probably been even longer since I heard Aliquante.
Horizon Digital is one of those albums that intersects both the progressive rock and jazz fusion genres. The shifts in tone and meters, coupled with some light French vocal sections, points to the former. The overall sound recalls the late 70s fusion era. The music is highly melodic and well composed. There are traces of mid 70s Soft Machine as well. The complexity within the tight constructs of the composition would later be explored further by the Forgas Band Phenomena.
This isn't an album you hear too many folks talk about, but for my tastes it is an essential addition to any progressive rock collection.
I also really enjoy the artwork that adorns the gatefold cover.
I'm going to dial back some of my enthusiasm for the bonus tracks. The blues number is forgettable and 'Open it Up' is sung in English - not a good plan. The new wave influences are mostly muted, only heard in the synth work. I wasn't aware of the Boogie Funk genre in 2008, but that's a more accurate reference to their overall sound. Closer to disco than rock or fusion, but with an 80s slant. Some of these tracks would command hundreds (or thousands) of dollars in the 45 market were it American and on some private label. I find them pleasurable, though not enough for me to keep.
Ownership: 1978 RCA (LP). Gatefold with pictures of the band. Acquired in 1992.
Previously owned: 2007 Musea (CD). Booklet with history and five bonus tracks. Acquired in 2008.
1992; 2008; 7/10/26 (review)
Also own: Aliquante
7/10/26 (new entry)
Wednesday, July 8, 2026
Brian Auger ~ England
Streetnoise (1969)
Somehow I missed this album in my initial coverage of Brian Auger's classic jazz rock works. It was part of an LP lot I recently picked up, and I was pleasantly surprised by what what was coming back on the first track. So I decided to tackle the entire two album package. At first I thought it might be a good fit for my Post Psychedelic, Proto Progressive With Female Vocals list. But as anyone will point out, the album is too diverse for its own good. A3 is a Nina Simone gospel cover, far - far - from my interest area. There are many other cover songs, similar to the Befour album mentioned below, but not as satisfying (yet still inventive). Nonetheless, the album remains quite interesting. I can listen to Auger play the Hammond all day long. He would have been a good fit for the early incarnations of Soft Machine. Julie Driscoll lays it all out there. She's a bit much at times, but there are certainly worse and more histrionic female vocalists during this era. She's strangely absent from Side 3, and that may be my favorite side since it features all original material. C4, though, is a vocal track (Auger singing?) and not very good. But the instrumentals are great as is Dave Ambrose's composition. The 4th side is pretty forgettable. Overall, probably not good enough for me to hold onto at this stage, but I'm glad to have heard it. If I were to grab some bonus cuts from it, I'd take A1, B2, C1, C2, C3. Maybe B3 since it's so strange in the way it flows.
Source: 1969 ATCO (2xLP). Gatefold.
7/8/26 (review) 
Befour (1970)
With Julie Driscoll out of the way, Auger was able to get back on the (mostly) instrumental jazz rock train. This would be the last outing from The Trinity, but it sets the stage for his work with Oblivion Express. Six of the seven tracks here are covers, but don't let that deter you as they are highly creative interpretations. Auger's Hammond is always a joy to hear, and Gary Boyle puts in a fine performance on guitar. 15 years after first obtaining, this is only my second outing with the music. +1 listen for me.
Straight Ahead (1974)
Straight Ahead is the 5th album from Brian Auger's jazz funk fusion group Oblivion Express. It's a solid follow up to their breakout album Closer To It, and musically very similar. This was not by accident as the album was clearly patterned after it, and its primary purpose was to have an album to tour the States with. Straight Ahead catches a groove early and never quits. Auger leads the way with organ, electric piano, and vocals. The latter is not something he's known for, but I quite like his vocal style myself. Smooth and expressive. Better than some of the professional vocalists he'd used on other albums. Hard to pick a favorite here, but I'll go with Wes Montgomery's 'Bumpin on Sunset', which interestingly enough I have a promo 45 single of. Excellent album overall.Ownership: 2006 Fuel 2000 (CD). Booklet with full historical liner notes and one bonus track. The latter is the title track recorded live up the road in Denver, appropriate since the album's existence was to play live in the US. Acquired in 2008.2008; 7/24/13; 9/20/22 (review)
Jools & Brian (1969)
A Better Land (1971)
Befour (1970)
With Julie Driscoll out of the way, Auger was able to get back on the (mostly) instrumental jazz rock train. This would be the last outing from The Trinity, but it sets the stage for his work with Oblivion Express. Six of the seven tracks here are covers, but don't let that deter you as they are highly creative interpretations. Auger's Hammond is always a joy to hear, and Gary Boyle puts in a fine performance on guitar. 15 years after first obtaining, this is only my second outing with the music. +1 listen for me.
Ownership: 2007 Fuel 2000 (CD). Booklet with historical liner notes. Includes three excellent bonus tracks. Acquired in 2008.
2008; 11/5/23 (review)
Straight Ahead is the 5th album from Brian Auger's jazz funk fusion group Oblivion Express. It's a solid follow up to their breakout album Closer To It, and musically very similar. This was not by accident as the album was clearly patterned after it, and its primary purpose was to have an album to tour the States with. Straight Ahead catches a groove early and never quits. Auger leads the way with organ, electric piano, and vocals. The latter is not something he's known for, but I quite like his vocal style myself. Smooth and expressive. Better than some of the professional vocalists he'd used on other albums. Hard to pick a favorite here, but I'll go with Wes Montgomery's 'Bumpin on Sunset', which interestingly enough I have a promo 45 single of. Excellent album overall.Ownership: 2006 Fuel 2000 (CD). Booklet with full historical liner notes and one bonus track. The latter is the title track recorded live up the road in Denver, appropriate since the album's existence was to play live in the US. Acquired in 2008.2008; 7/24/13; 9/20/22 (review)
Jools & Brian (1969)
A few years before the Captain & Tennille, there was Jools and Brian. A mixture of the pop of their day, with a way too talented keyboardist who should be doing more. Fortunately for all of us, Auger did just that. This album is OK for what it is, but unless you want to hear orchestrated standards with a vintage organ and female jazz pop vocals, then you're not likely to find much here.
Source: 1969 Capitol (LP)
8/27/21 (review)
A Better Land (1971)
Before everyone got all amped up about 180 gram vinyl, RCA went in a different direction with Dynaflex. I swear they weigh like 10 grams and you can fold them like a taco. The inner sleeve goes to great lengths to explain the benefits of Dynaflex. Pure salesmanship that's for sure. I'd heard this album almost precisely nine years ago, and managed to get some scratch off notes down. Here they are: "Regarding Brian Auger's first five Oblivion Express albums - starting with the debut and ending with Straight Ahead - four of these are considered progressive jazz rock classics. The other is a vocal heavy folk rock album, somewhat like CSN&Y meets America. See the problem? Something about tigers, leopards, spots, and stripes. If for some reason this is the only album you've heard by Auger's Oblivion Express, then the title track is the only song here that recalls the other albums, if curious." I did have a +1 listen last night, as Side 2 as a whole was better than I remembered. But that just moved it from average to good. Excellent gatefold cover. One of his rarer titles.
Source: 1971 RCA (LP)
7/8/21 (review)
Also own: Brian Auger's Oblivion Express; Second Wind; Closer To It
9/20/22 (new entry)
Sunday, July 5, 2026
Saturday, July 4, 2026
Caldera ~ USA ~ Los Angeles, California
Time and Chance (1978)
I recently heard Caldera's second album Sky Islands, and I just couldn't get into it. I couldn't even muster up a review here for UMR. As I reflect on their quartet of albums, that was their try for commercial stardom, and is the odd one out. From the beginning of Time and Chance, Caldera are clearly going back to their Latin based jazz fusion roots. Jorge Strunz is in full powered Santana / Al Di Meola mode here. There's more than a nod to the latter's songwriting style throughout.
'Shanti' is really nice with female wordless vocals, flute, and searing guitar. And the album closes the proper way, with a smoldering fusion number where Strunz lets loose on the fretboard with plenty of additonal flute.
Three strong albums out of four is a good career I would submit.
Strangely, Time and Chance has never been reissued on CD whereas the others have (though Dreamer remains a scarce Japanese only product).
Ownership: 1978 Capitol (LP). Acquired in 2014.
4/11/14; 7/4/26 (review) 
Caldera (1976)
The CD boldly claims "Masters of Funk & Soul" and "Some of the Greatest Funk Albums Ever!". Generic hype for the series perhaps, but it doesn't really apply to Caldera's debut. Los Angeles based Caldera are in the jazz fusion strike zone. Fastball down the middle. It's a great example of the scene taking some of the more Latin influenced tracks from Return to Forever and giving that style more focus. It's complex yet highly melodic. And well composed. Caldera aren't technical in the same sense as RTF, which is a plus for me. From here they were to add more funk and soul elements similar to the better side of Earth Wind & Fire. All four albums are worth exploring.
Most bands don't end a career with their most dynamic and progressive album especially in 1979. Caldera had dabbled with commercialism on their sophomore effort Sky Islands, but this one is primarily a fiery instrumental fusion along the lines of 1972-74 era Santana, with some nods to Return to Forever. They threw caution to the wind and just went for it. If only most bands had a similar attitude back then. Arguably - and probably - their best album.
The CD boldly claims "Masters of Funk & Soul" and "Some of the Greatest Funk Albums Ever!". Generic hype for the series perhaps, but it doesn't really apply to Caldera's debut. Los Angeles based Caldera are in the jazz fusion strike zone. Fastball down the middle. It's a great example of the scene taking some of the more Latin influenced tracks from Return to Forever and giving that style more focus. It's complex yet highly melodic. And well composed. Caldera aren't technical in the same sense as RTF, which is a plus for me. From here they were to add more funk and soul elements similar to the better side of Earth Wind & Fire. All four albums are worth exploring.
Ownership: 2004 EMI / Capitol Europe (CD). Booklet with a short history of the band and album. Acquired in 2005.
5//05; 5/26/24 (review)
Dreamer (1979)
Ownership: 1979 Capitol (LP). Textured cover. Acquired in 2022.
First copy: 2015 Capitol Japan (CD). Acquired in 2015.
7/19/15 (review); 12/18/17; 5/4/22
7/19/15 (review); 12/18/17; 5/4/22
Previously owned: Sky Islands
7/19/15 (new entry)
Monday, June 29, 2026
Secret Oyster ~ Denmark
Vidunderlige Kælling / Astarte (1975)
Vidunderlige Kælling is the 3rd album from Secret Oyster. It was released as Astarte in the Netherlands, so it's sometimes known by that title. Certainly easier to remember. And it was also the first copy I found, so it's how I knew the album for years. Still refer to it that way, honestly.
The music is composed for a ballet. Jazz fusion is not the first genre I think of when considering the ballet. Secret Oyster are also not the first prog oriented band from Denmark to do this. Ache started their career with a ballet soundtrack known as De Homine Urbano. Quite an odd occurrence.
Interesting to mention 'Astarte' because it may be the highlight track here. The sitar and sax soloing together reminds me quite a bit of Embryo. 'Outro' is another standout. As the liner notes point out, the music is varied to support a multi-themed ballet. As such, the listening dimension can be disjointed.
The "obi" strip provided by the CD label references Soft Machine, Mahavishnu Orchestra, and Return to Forever. While those groups are certainly reasonable comparisons considering the music does circle the jazz fusion genre, deep divers will likely not agree. To be fair, what else could you compare it to? Not much leaps to mind. As the album goes, one begins to hear a strain of neighboring Sweden's Samla Mammas Manna. That wouldn't draw in a single new buyer, but it's much more of what you can expect here.
Given the premise of the setup, I've always had this album the lowest rated of their quartet of releases. It lacks the burning solos of the other three, though there is some of that.
'Sleep Music', one of the bonus tracks, is a wonderful atmospheric piece and should have been on the album proper.
Ownership: 2005 The Laser's Edge (CD). Booklet with historical liner notes, a band photo, and three bonus tracks. Acquired in 2007.
First copy: 1976 CBS Netherlands (LP). Acquired in 1986.
12//86; 1995; 5/13/07; 6/29/26 (review)
Secret Oyster were one of the more well known European fusion groups back in the day, as their albums sold quite well back home, as well as benefiting from good distribution around the world, especially in the US. In fact they were one of the first European fusion groups I’d heard, having stumbled upon Furtive Pearl (the US release on Peters International) as far back as the mid 1980's. Founded by members from Burnin' Red Ivanhoe, Secret Oyster subsequently added psychedelic guitarist Claus Bohling from Hurdy Gurdy and jazz pianist Kenneth Knudsen from Coronarias Dans to form one very hot quintet. Their four albums, released between 1973 to 1976, are all remarkably similar, but never repetitive or lacking inspiration. The debut mixed in more avant-garde jazz styled noodling, and this is where the Coronarias Dans influence comes in. But the album also features some of their more unhinged rock moments, as Bohling really lets loose on the electric guitar (witness his literally stinging solos on 'Fire & Water' and 'Public Oyster'). The only minor gripe I have with the band, is that Karsten Vogel's primary wind of choice was the soprano saxophone, a variety of the instrument I don't personally enjoy as much as the tenor or alto. All the same, a superb debut by a band clearly on the rise.
Secret Oyster became almost legendary in "reissue circles" (does such a circle exist? you ask...) as the progressive rock act that was most neglected. In fact, when label owner Ken polled a chat board on which band he was going to reissue that had "multiple albums", I guessed immediately Secret Oyster. I win :-)
Ownership:
Ownership:
1974 Peters International (LP). Reacquired in 2023. First purchased in 1985.
2007 Laser's Edge (CD). Booklet with liner notes from band leader Karsten Vogel, and includes two great live tracks. The original cover features a rendition of an historical postcard of the fishing port of Nibe, in Jutland where the band recorded the album. Acquired in 2007.
1985; 11/2/07; 1/13/15 (review)
Also own: Sea Son; Straight to the Krankenhaus
1/13/15 (new entry)
Wednesday, June 24, 2026
Al Di Meola ~ USA
Electric Rendezvous (1982)
I take us back to the Elegant Gypsy review below. This would have been the new album not long after I started hanging out with my new friend. I don't recall buying it real time, perhaps being overwhelmed already with Elegant Gypsy and Casino.
In the modern era, I reflect on the album differently. I see Electric Rendezvous as Al Di Meola going back to the basics like the two classics noted above. His grandiose Splendido Hotel and forays with Paco de Lucia & John McLaughlin, were paving the way for Di Meola's future endeavors. Electric Rendezvous is his swan song to his Return To Forever roots. The album opens perfectly with another Mingo Lewis composition, someone whose compositions are perfect for Di Meola's style. The title track has a progressive slant, something I wish Di Meola had pursued more in earnest over his career. I enjoy the acoustic duo with de Lucia, but a whole album of acoustic jamming isn't to my tastes. Side 2 proves once again that Di Meola was just as much a strong songwriter as he was a talented guitarist. Today, I hear this album as one of his essentials.
Ownership: Columbia (CD). Acquired in 2015.
First copy: 1982 Columbia (LP). Acquired in 1990.
1983; 1990; 1/4/15; 3/6/18; 6/23/26 (review) 
Land of the Midnight Sun (1976)
I've gone on about Di Meola in these pages already. His debut lays out the blueprint for his next two works, arguably his great moment in the midnight sun. As I hinted on Elegant Gypsy, I think Di Meola probably gets too much credit for his guitar virtuosity and too little for his songwriting ability. Like all of Di Meola's albums up through 1982, I owned them on LP in high school or early college. For whatever reason, I don't feel compelled to replace these commodity CDs - it just goes with the music and the era. I discuss some of this phenomena on the Elegant Gypsy post as well.
Ownership: Columbia (CD). Acquired in 2014.
In my junior year of high school, way back in 1981, there was a new kid in school and we became instant friends. But he was different than all of us. He was rich. Very rich in fact. I never even knew anyone that was wealthy, much less had a friend like that. While I certainly never missed a meal growing up, we definitely didn't have much disposable income - and lived quite modestly. The fact is, rich kids didn't go to schools where I lived. The reasons are multiple, but that's for another time (and drinks presumably).
I bring all of this up here in an Al Di Meola review, because this new chum also brought an entirely new music perspective with him. Unlike myself and my running set, he had no use for FM radio (i.e. AOR / MTV / Corp Rock), hard rock, or heavy metal - the latter being my first foray into collecting underground music. Oh no - this guy was already a well schooled audiophile, who had thousands of dollars of stereo equipment throughout the 15,000 square foot mansion he lived in. He read all the magazines, and absorbed the music culture that went with it. And jazz fusion was the music of choice. I wouldn't have known what fusion was had it hit me in the nose back then. And his favorite guitarist was, ta-dah - Al Di Meola. And Elegant Gypsy, along with Casino, were LPs he played constantly while at his house shooting pool or playing ping pong. Eventually I bought up the Di Meola line through Electric Rendezvous, and then I exited for college.
There in college, of course, I met more people who were quite informed about music. It was also about the time that a one Yngwie Malmsteen entered stage right (who friend above and I discovered via the somewhat disappointing Steeler album). Then came all those tiresome debates, ones it seems I engaged in for far too long in life. Like "who's the fastest guitarist". And off went the arguments "Malmsteen only plays chromatic scales.." "Di Meola is a one trick pony". "Oh yea, well John McLaughlin blows them all away!"... Who's that I ask? And then I found myself loading up on Mahavishnu Orchestra albums. Ah you kids and the internet. In those days it was talk (none of this was on the radio) and used record stores if you wanted to learn about something.
Eventually I got worn out by all of that, and held Al Di Meola responsible for me not liking music that seemingly was all about technique. And it was in college that I was first discovering Krautrock and European underground prog rock - pretty much the polar opposite of the slick, audiophile friendly jazz fusion.
None of which was fair to our subject matter at hand. Eventually I went back to Elegant Gypsy and revisited it on its own terms - sold off the dogeared LP and purchased the CD - and heard it with a fresh pair of ears. Honestly the chops are only a part of Al Di Meola's repertoire, but I do think he's quite unheralded when it comes to songwriting. He's quite adept at that too, and every song here is enjoyable (with like-minded cohort Mingo Lewis penning the opener 'Flight Over Rio'). And 'Race with Devil on Spanish Highway' is what everyone else says - a brilliant track, the perfect combination of jazz fusion and prog rock. I don't agree with those who state Di Meola was retreading ground that Santana laid out. To me, we're talking two entirely different branches of Latin influenced music.
Nowadays, I may hear the album every few years, and this listen just confirmed again how enjoyable Elegant Gypsy really is. After knowing the album very well for 37 years, I can say that with conviction.
Ownership: Columbia (CD). 80's commodity pressing. One of those old school-no-info CD's that proudly state "Now Made in the USA!". If you recall, CDs were originally made in Japan or West Germany (and expensive at that), so it was something of a big deal when they became a domestic product. It's really too bad folks have moved away from CDs. I would expect a renaissance at some point.
First copy: 1977 Columbia (LP). Acquired in 1983.
I've gone on about Di Meola in these pages already. His debut lays out the blueprint for his next two works, arguably his great moment in the midnight sun. As I hinted on Elegant Gypsy, I think Di Meola probably gets too much credit for his guitar virtuosity and too little for his songwriting ability. Like all of Di Meola's albums up through 1982, I owned them on LP in high school or early college. For whatever reason, I don't feel compelled to replace these commodity CDs - it just goes with the music and the era. I discuss some of this phenomena on the Elegant Gypsy post as well.
Ownership: Columbia (CD). Acquired in 2014.
First copy: 1976 Columbia (LP). Acquired in 1985.
1985; 8/12/14; 11/2/19; 2/15/23 (review)
1985; 8/12/14; 11/2/19; 2/15/23 (review)
Elegant Gypsy (1977)
I bring all of this up here in an Al Di Meola review, because this new chum also brought an entirely new music perspective with him. Unlike myself and my running set, he had no use for FM radio (i.e. AOR / MTV / Corp Rock), hard rock, or heavy metal - the latter being my first foray into collecting underground music. Oh no - this guy was already a well schooled audiophile, who had thousands of dollars of stereo equipment throughout the 15,000 square foot mansion he lived in. He read all the magazines, and absorbed the music culture that went with it. And jazz fusion was the music of choice. I wouldn't have known what fusion was had it hit me in the nose back then. And his favorite guitarist was, ta-dah - Al Di Meola. And Elegant Gypsy, along with Casino, were LPs he played constantly while at his house shooting pool or playing ping pong. Eventually I bought up the Di Meola line through Electric Rendezvous, and then I exited for college.
There in college, of course, I met more people who were quite informed about music. It was also about the time that a one Yngwie Malmsteen entered stage right (who friend above and I discovered via the somewhat disappointing Steeler album). Then came all those tiresome debates, ones it seems I engaged in for far too long in life. Like "who's the fastest guitarist". And off went the arguments "Malmsteen only plays chromatic scales.." "Di Meola is a one trick pony". "Oh yea, well John McLaughlin blows them all away!"... Who's that I ask? And then I found myself loading up on Mahavishnu Orchestra albums. Ah you kids and the internet. In those days it was talk (none of this was on the radio) and used record stores if you wanted to learn about something.
Eventually I got worn out by all of that, and held Al Di Meola responsible for me not liking music that seemingly was all about technique. And it was in college that I was first discovering Krautrock and European underground prog rock - pretty much the polar opposite of the slick, audiophile friendly jazz fusion.
None of which was fair to our subject matter at hand. Eventually I went back to Elegant Gypsy and revisited it on its own terms - sold off the dogeared LP and purchased the CD - and heard it with a fresh pair of ears. Honestly the chops are only a part of Al Di Meola's repertoire, but I do think he's quite unheralded when it comes to songwriting. He's quite adept at that too, and every song here is enjoyable (with like-minded cohort Mingo Lewis penning the opener 'Flight Over Rio'). And 'Race with Devil on Spanish Highway' is what everyone else says - a brilliant track, the perfect combination of jazz fusion and prog rock. I don't agree with those who state Di Meola was retreading ground that Santana laid out. To me, we're talking two entirely different branches of Latin influenced music.
Nowadays, I may hear the album every few years, and this listen just confirmed again how enjoyable Elegant Gypsy really is. After knowing the album very well for 37 years, I can say that with conviction.
Ownership: Columbia (CD). 80's commodity pressing. One of those old school-no-info CD's that proudly state "Now Made in the USA!". If you recall, CDs were originally made in Japan or West Germany (and expensive at that), so it was something of a big deal when they became a domestic product. It's really too bad folks have moved away from CDs. I would expect a renaissance at some point.
First copy: 1977 Columbia (LP). Acquired in 1983.
1983; 11/26/15; 4/10/18 (review)
Also own: Casino; Splendido Hotel
Formerly owned: Cielo e Terra; Soaring Through a Dream
4/10/18 (new entry)
Tuesday, June 23, 2026
Bluestone Company ~ Japan
Supernatural Delight (2008)
When I'm out digging in the wilds, I'm always on the lookout for obscure new tunes to check out. When I found this one, I figured it was just another one of those dime-a-dozen blues CDs that are everywhere, and generally worthless. I was intrigued by the title though, and looking at the back cover it seemed like it might be psychedelic too. It was only 25 cents, what do I have to lose? As we joke at "The Bins", our collective gravestones will say "but it was only 25 cents".
I had no idea the band was Japanese until I put the CD in the changer and took a closer look at the booklet. After a brief synth introduction, tracks 1), 2), and 3) will proceed to blow your head off. Blues rock? Southern rock? Not on your life. Not even primo Allman Brothers. It sounds more like Ozric Ed Wynne got stuck in Tokyo and decided to jam with Happy Family and Kenso in between trips to Disk Union. It's been ages since I was this exhilarated about something post-2000. At least from a band I had no clue who they were.
It's not until 4) that, OK yes, it is a blues rock album after all. The star of the show is clearly guitarist Toshihiro Sumitomo, who plays a very raw and intense electric guitar throughout. It's exactly what I wanted from Stevie Ray Vaughan all those years ago. But Vaughan stuck closer to Texas Blues. Sumitomo is more like Blue Cheer Blues. His background is from a blues band called The Savoy Truffle. Another new name. 5) slows things down until Sumitomo gets bored and starts wailing about halfway through. 'Colonel Panic' is a cover song from an American jazz fusion band known as Jing Chi. Never heard of them either. 7) is another heavy blues song in the same tradition as 4). 8) is largely blues rock but there's some trippy trumpet at the end adding some much needed spice.
9) is none other than The Meters' 'Cissy Strut'. Heavy blues style and gets really psychy flipped out towards the end reminding me quite a bit of Frank Marino's later live works. The closer 'Desert Blues' really does conjure up the Arizona landscape, and Sumitomo provides the ethereal electric guitar to create the right aura.
Get this one.
Ownership: 2008 Grooveyard (CD). Booklet with recording details and a band photo. My copy is signed by all four members no less. Acquired in 2026.
6/23/26 (review)
Bluestone Company has two more albums with Texas blueser Chris Duarte.
6/23/26 (new entry)
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