Runaway Totem ~ Italy

Zed (1996)

Runaway Totem are one of those bands where I've dismissed more albums than I've embraced. Their primary stock-in-trade is Zeuhl, one of my favorite forms of progressive rock music, which makes that a curious conclusion. And I started with them at the beginning, and I still think Trimegisto is an unheralded masterpiece. I purchased Zed not long after release, but it never resonated as much with me, though I did enjoy it. Nonetheless I sold it some years back. I never had it on LP, and when a friend recently offered it up for trade, I thought why not hear it in that format. Let's see if my perspective changes.

I'm not one to usually call out sound differences between vinyl and CD issues, but it does seem to have more bass depth than I recall from my last listen six years ago. Without having the CD here for comparison, that could just be positive thinking.

What I really enjoyed about the debut is that it possessed some nutty Italian styled prog breaks. Zed has none of that and is full on oppressive styled Zeuhl. Complete with orchestra and choir-like voices. The heavy guitars and synthesizers remain. Though it's clearly Zeuhl, it really doesn't remind me of any particular French, Japanese, or American band operating in this space, Magma being the closest. The vocals are very different from the latter, creating separation. And on Zed, Runaway Totem stays in build up mode for most of the recording, not letting themselves go as they did on their debut. Or as Magma themselves would. There is some doom metal styled riffing on the B side, which is a welcome reprieve.

I was borderline on this album when I had the CD. I think the LP, and my long history with the album, puts it back into the collection. Even though my rating remains the same. Interesting to note that you can still get this LP new here in the States for relative cheap. Not too many CD-era 90s underground LPs are going for a song these days.

Ownership: 1996 Black Widow (LP). Gatefold. Inner bag with lyrics and recording details. Acquired in 2026.

First copy: 1996 Black Widow (CD). Acquired in 1996. Downsized in 2020.

1996; 6/16/13; 7/4/20; 8/28/26 (review)
 

Affreschi e Meditazione (2012)

A very odd new release for Runaway Totem. Those coming to this album looking for their trademark Zeuhl sound will be sorely disappointed. It's mainly an electronic album (heavy on the brass sounds) with acoustic nylon guitars, all heavily filtered - and could almost be considered an ambient release. There are a couple of rock moments, with Italian vocals, but overall this one is a real curveball. That's not to say it's a bad album - it is indeed a very forward looking and progressive release in the truest meaning of the term. Not sure where I stand on it. Definitely not what I expected so I stand confused. 

Former ownership: 2012 Lizard (CD). Acquired in 2013; Downsized in 2018.

5/9/13 (review); 3/15/18

Also own: Trimegisto; Le Roi Du Monde

Previously owned: Andromeda; Manu Menes

5/9/13 (new entry)

Kansas ~ USA ~ Topeka, Kansas

Power (1986)

After Drastic Measures, it seemed Kansas had run their course. Long time members Ehart, Williams, and Walsh carried on, and significantly added Steve Morse on guitar to replace the band's thought leader Kerry Livgren, who took fellow Christian born-againer Dave Hope with him. And the trademark violin remains without presence. It was also time to say goodbye to their long term relationship with Columbia and they signed on with MCA. It was a new beginning.

I remember seeing the cool album cover when it first hit the shelves while I was in college. It certainly looked like it might be a return to their progressive rock form. I presumed it probably wasn't considering no one was going back to their prog rock roots in 1986 (except, bizarrely, Supertramp). After all these years, I'm finally sitting down to hear Power for the first time.

The album opens up promisingly enough in a hard rock, almost heavy metal way. Steve Morse certainly seems to have brought the band back to life with his energetic performance. Once Walsh's made-for-radio voice begins, it becomes clear that this will be another attempt at AOR fame and fortune. Unlike Drastic Measures, Kansas offers more on Power for long time fans. A5 is a solid fusion number, pointing to Morse's Dixie Dregs heritage. B1 is an actual bonafide proggy instrumental proving they still had it in them beyond the concert experience. They slip in some fine hard rock and prog throughout, though it's subtle and never dominates the pop song underneath. The closer B5 is painful to listen to.

Not a bad record at all, though hardly one to extend Kansas' legacy. It clearly is a product of the hapless middle 80s, especially for groups not flourishing in the underground at that time. It did, however, provide a lifeline to a moniker that lasts until this day. One that continued to evolve. More to come from UMR on that.

Source: 1986 MCA (LP)

8/28/26 (review)
 

Kansas (1974)

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

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

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

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

Masque (1975)

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

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

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

Song for America (1975)

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

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

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

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

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

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

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

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

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

Drastic Measures (1983)

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

Source: 1983 CBS Associated (LP)

5/7/25 (review)

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

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

9/22/25 (new entry)

Sergio Mendes ~ Brazil

Pais Tropical (1971)

Another Mendes album I somehow missed. This is where he introduced the Brasil '77 version of the band. Karen Philipp is still fortunately around, though her sidekick is now Gracinha Leporace, also known as Mrs. Mendes. So he traded out Herb Alpert's wife for his own.

The music here is a return to the Bossa Nova Easy Listening of Ye-Me-Le and prior. The folk rock experiment of Stillness didn't pan out as hoped. All the same, one can hear Mendes starting to jones for his homeland more and more. Something that he fortunately exploited further on his masterpiece Primal Roots.

In the end, it's better than Love Music, but it's still a bit too contrived for me to get too excited about. The fact that there isn't that one heart melting track works heavy against it. The cover of J.J. Cale's 'After Midnight' would have to be considered ill-advised. Overall it's an average effort for Mendes.

Source: 1971 A&M (LP). Flapback cover.

8/28/26 (review)
 

Sergio Mendes & Brasil '66 - Ye-Me-Le (1969)

I've gone on plenty about Mendes in these pages. As the last five years have flown by I'm now of the mind that if you're new to collecting records, Mendes should be of the first ones you buy. They're readily available, very cheap, and brilliant musically. This is the fourth German edition I've found for Mendes, the others being Equinox, Crystal Illusions, and Primal Roots. And they all sound terrific. Ye-Me-Le is the last of the classic era Mendes albums for me to acquire, this one coming from a local vintage shop. The music is as expected, soft Bossa Nova covers of famous songs, plus a smattering of originals. Beautiful really. 

Ownership: 1969 A&M Germany (LP). Acquired in 2024.

9/8/24 (review)

Sergio Mendes & Brasil '66 (1966)

I told myself that the next clean copy of this album I find then I'm buying it. And this certainly fit the bill. It's a 25 minute album, and is mostly fluff. But the best kind of fluff. Really captures the 1966 ethos, a most creative year that seems to serve as an island unto itself. Sergio Mendes & Brasil '66 is the dictionary entry for Bossa Nova.

Ownership: 1966 A&M mono (LP). Acquired in 2024.

7/12/20; 6/14/24 (review)

Sergio Mendes & Brasil '66 - Stillness (1970)

One of the classic era Mendes I still didn't have. While Mendes' 60s works are ubiquitous, once the decade flipped over, his sales clearly must have gone down, as not all of his albums are as readily available. In addition, Mendes was messing with the formula a bit here. Less of the easy listening bossa nova - or even the psychedelics of Crystal Illusion - and more of the earthy folky sounds of the 1970 pop era. It's all very well done, perhaps a bit too serious, and none of the hair raising inner-child melodies of the past. 

I may try for this title again in the future.

Former ownership: 1970 A&M (LP). Acquired in 2023. Downsized in 2024.

3/19/23 (review)

Sergio Mendes & Brasil '66 - Fool on the Hill (1968)

After hearing Equinox, I made the decision to hear all the Mendes albums, as long as they were in good enough shape. Brasil '65 is great and Equinox is very good, but the Herb Alpert album lost me (reconciled since). Fool on the Hill sits between the latter and Equinox in terms of quality. It really should have been better, as it isn't quite as cover heavy and features indigenous Brazilian songwriters. I wasn't convinced after the first side, but the flip sold me. In particular I fell for - of all things - 'Scarborough Fair'. I'm a fan of the song as it is, but the bossa nova version is just too much to resist. I can listen to Lani Hall (Herb Alpert's wife) and Karen Philipp all day long. Pizzicato Five and Stereolab made a career out of borrowing from this group. 

Ownership:

1968 A&M (LP). Gatefold. Acquired in 2020.

1968 A&M (reel to reel). Acquired in 2024.

12/19/20; 6/22/22 (review)

Sergio Mendes & Brasil '66 - Look Around (1968) 

Look Around is the album between Equinox and Fool on the Hill, and is at the height of Mendes popularity. He wasn't in any mood to experiment at this point, and kept that gravy train going at full blast. This is square on Bossa Nova influenced Easy Listening music. There are no mind melting tracks like what you would find on Crystal Illusions, Primal Roots, or even Brasil '65. But it sure is enjoyable for late night listening. Not real fond of the Beatles cover here, but most of the album contains originals, and pleasant at that. And Mendes covering Bacharach's 'The Look of Love' isn't even fair. Like Metallica covering Budgie, the ingredients are too stacked in its favor to be anything but great. 

The cover is stunning. Late 60s fashion at its zenith. These albums would be worth quite a bit of money if they didn't sell so many of them in the first place. Of course I'm keeping it. And the fact that I mentioned Metallica and Budgie in a Mendes review makes me really happy.

Ownership: 1968 A&M (LP). Gatefold. Acquired in 2021.

6/26/21 (review)

Sergio Mendes & Brasil '77 - Primal Roots (1972)

This album is a huge departure from anything I've ever heard Mendes perform. Gone are the soft pop songs, and its place is a serious fusion of Brazilian folk styles. Considering that all of Side 2 is made up of one track called 'The Circle Game', you know we're thousands of miles away from Ipanema. The minute I heard the incredibly breezy 'After Sunrise' with its female la-la-la's I was triggered by a long time memory. I can remember looking for this song at some point in my life, and could never find it. It comes from something I saw on television or video, but I cannot remember what it was. I have a guess, but I'll keep that to myself for now. And the side long track is brilliant, filled to the brim with great ideas, and never lags. It's not fair to compare Primal Roots to his other work, because it's just a different animal all together. This album puts the previously reviewed Love Music into perspective. That album followed this, and is a reaction to it most likely. One serious, one complete fluff. Easy recommendation to Mendes fans, and even progressive rock and fusion collectors.

Ownership: 1972 A&M Germany (LP). Acquired in 2021.

4/19/21 (review)

Sergio Mendes & Brasil '77 - Love Music (1973)

Speaking of ill-advised covers. And, in this case, I don't necessarily mean exclusively the physical package. I finally found the Mendes album that's not for me. No Bossa Nova here, not even original songs. All English language pop covers - some more known than others. Ugh - this one is way too Vegas-stagey for my tastes. OK, this one goes. I definitely preferred the follow-up Vintage '74 to this.

Source: 1973 Bell Germany (LP)

4/1/21 (review)

 

Sergio Mendes & Brasil '66 - Crystal Illusions (1969)

The opener is inauspicious, and it reminded me of some of the duff tracks from Fool on the Hill. Things get on track with the Portuguese sung 'Viola'. After which, Crystal Illusions finds its groove, 'Song of No Regrets' reminds me of Burt Bacharach's 'Alfie' and is very solemn and moving. 'Salt Sea' is a stunner, the kind of song that turns me into a ball of mush. What a beautiful track. Not to be outdone, the closer of the side is 'Empty Faces', which adds some Bossa Nova to the same formula. Just breathtaking really. 'Pretty World' opens side 2 magnificently and is the kind of composition one would think only Bacharach, Hal David, and Dionne Warwick could have come up with. 'Dois Dias' is the other Portuguese track, and is oddly like 'Viola' in that it's not one of the highlights. 'You Stepped Out of a Dream' is way too saccharine, and one gets diabetes just listening to it. Then comes the closer, something entirely new for Mendes (I think). At close to 8 minutes, will it be prog? Haha, well no. It's the second half of the track that gets really interesting. There's an electric piano jam that recalls late-era Doors (a jam on a Mendes album? Who knew?), followed by some disorienting strings that is very psychedelic. Overall, a superb effort and a nice thick German copy too. This is my second favorite to date with only Brasil '65 topping it. Let's see if either get bettered (Primal Roots ended up being my favorite).

Ownership: 1969 A&M Germany (LP). Acquired in 2021.

3/29/21 (review) 

Home Cooking (1976)

Picked this up with the Vintage 74 album. Ha - I guess this is the album that sees Mendes turn funk. Has some really good grooves, especially the A side instrumental closer 'Shakara'. All the same, Mendes is a pop artist professional so he's not going to let things get out of hand. Unfortunately. Plenty of Easy Listening and light Bossa Nova as well. The lady at the counter (she likes to comment on the album covers apparently) really got a kick out of the steaming oven on the back. Just as tabasco sauce is pretty wimpy compared to what's on the market, so goes Home Cooking. Good enough though. Keeper.

Ownership: 1976 Elektra (LP). Gatefold. Acquired in 2021.

1/31/21 (review)

Sergio Mendes and Brasil 77 - Vintage 74 (1974)

As promised, I've been picking up Mendes albums as I see them in the thrift bins. This is actually one of his rarer titles. And with "electric fuzz guitar" listed on at least two tracks, and it's from 1974, I thought Mendes might have tried his hand at deep funk or something. Uh... no. Arguably he's no longer performing Bossa Nova anymore but rather straight up Easy Listening music. To my ears, Mendes has gone full on Burt Bacharach here, which is A-OK in my world. Pleasant female vocals over complex 60s era pop songs. It's a bit squishy in the middle, but since I can be nostalgic that way, I found this album to be pleasant, yet hardly revelatory. The older lady at the cash register (who's probably younger than me lol) thought the cover was cute. So there, it's a cute album. Not for fans of Kluster.

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

1/30/21 (review)

Sergio Mendes & Brasil '66 - Equinox (1967)

You may recall my notes on the Brasil '65 album from last summer, and my own primordial background with Bossa Nova. This isn't really that much different, more stylized and slick perhaps, but still very enjoyable on the whole. I found this better than the more popular in-between Herb Alpert Presents album. Also, for the first time, I'm picking up some Stereolab here. Wouldn't be surprised to read that Mendes was an influence for the Groop.

Ownership: 

1967 A&M Germany (LP). Acquired in 2020.

1967 A&M (reel to reel). Acquired in 2024.

11/27/20 (review)
 

The Sergio Mendes Trio - Brasil '65 (1965)

The cover hypes/screams that this album is "The Greatest New South American Arrival Since Coffee!" Haha - well you know, they might have a point... Especially in 1965.

On rare occasion I travel to Sao Paulo for business. Fortunately the hotels we are allowed to stay at are quite luxurious, and this is exactly the type of music they pipe into the lounge and the restaurant. In fact, some of the music comes right off this album. I suspect it's what a tourist, or what the hotels think a tourist, might want to hear while there. I mean you can't expect them to play Modulo 1000 or Lula Cortes e Ze Remalho. Or Sepultura.

Bossa Nova pop such as this has to be some of the easiest music on the ears. The beautiful female vocals, the soothing rhythms, the soft textured acoustic guitar, the lovely piano, and the flute. It's - forgive me - So Nice.

Ownership: 1965 Capitol (LP). Acquired in 2019.

5/24/19 (review); 11/28/25

5/24/19 (new entry)

Camel ~ England

Stationary Traveller (1984)

Yet another Camel album I hadn't heard before. I recall seeing it in the import bins during the 80s, but instincts told me to avoid it. Certainly the right move for the time. I would have immediately dismissed it as a pop record, and not the kind of prog rock I was looking for.

At this point, Camel is something of an Andy Latimer solo effort with industry veterans (Kayak, Alan Parsons Project, King Crimson) backing him up. The album starts off promisingly enough with an instrumental featuring the Fairlight synthesizer and Latimer's excellent guitar. After this, the music is defiantly 80s styled AOR, with a prog sensibility. If listening to music like this with the same lens as the Canadian band Saga, then it works better than expecting the next Mirage to come through your speakers. There are four instrumentals overall which also helps balance the boom boom bash of the pop oriented tracks. Without a doubt it's Latimer's guitar that brings life to Stationary Traveller. I think this is one of those albums that could be classified as "good for 1984, especially from an established UK prog band". Overall a solid pop progger, with excellent instrumental work, though not something I need to keep. 

Curiously, Stationary Traveller is one of their higher rated albums on RYM, and their best since Moonmadness. I think it's a bit of madness to rate this higher than Rain Dances, but OK. ProgArchives isn't quite as optimistic, but still rated higher than Breathless, which I won't agree to either.

Source: 1984 Decca Netherlands (LP)

8/26/26 (review)
 

The Single Factor (1982)

Another one of those albums I could have sworn I wrote about, but guess not. It was only seven years ago I found a copy in my early days of thrifting around town. Didn't hear any redeeming qualities and off it went.

This was part of the newly acquired collection, and a super nice copy at that. So let's get some virtual pen to paper here. Most certainly the title of this album is what you would call a clue. Those first two tracks are nothing more than radio bait. When I think of Camel, I think of quality songwriting. So, honestly, they probably should have made a dent in the corporate FM scene. Perhaps they were too far into their career to have any mojo left by 1982. The third song begins to show their progressive past, but in an Alan Parsons Project way. Since the vocalist is none other than David Paton, then that should prove to be no surprise. This is followed by a mellow and soothing instrumental. Andy Latimer definitely adds some soul to his guitar playing. This side closes with the even more mellow only-on-the-right-speaker 'Lullabye'. Side two starts off promisingly with another instrumental, more upbeat this time with fine keyboards from Peter Bardens (oh, there you are). B2 is arguably the heaviest track here, and even Mr. Mellow himself, Anthony Phillips, is participating on keyboards. After this, they ran out of ideas and threw in two pop rock hopefuls. B4 is pretty bad honestly. They close side 2 in a soft manner similar to the flip.

The Single Factor did indeed prove to be better than my initial impression. Though not even close to shelf space I'm afraid.

Source: 1982 Passport (LP). Lyric inner bag that also informs us that drummer Andy Ward does not appear because of a serious injury to his hand (though that was obfuscating the truth).

8/2/19; 1/23/26 (review)
 

A Live Record (1978)

I hadn't heard this prior, and rarely these days do I have the patience to sit through two albums worth of live material that I'm largely already familiar with. A Live Record passed the key test: Is it unique enough from the studio versions for repeat visits? And I'd submit yes it is. Solid representation from their five previous studio albums, with one album dedicated to The Snow Goose suite.

Ownership: 1978 Decca Europe (2xLP). Gatefold. Acquired in 2024.

6/24/24 (review)

Rain Dances (1977)

Rain Dances, Camel's 5th album, is where Camel wandered over the line from all-in progressive rock to that of AOR / FM music. Well sort of. They could be considered what is now known as Yacht Rock, or even more to the point, Yacht Prog. So yes, you can place Camel now in the company of Fruupp, Kestrel, Sebastian Hardie, and the rest of them. Latimer gives the game away on the back cover, though they are a bit scruffy to allow on the boat it would seem. Maybe they can work in the steam room?

If we're honest, Camel had always leaned in to the melodic side of the house. Herky-jerky rhythms and impossible compositions were never their forte. They just mastered their craft better here. And I have to think Latimer spent a little time digesting some of Santana's guitar licks before heading into the studio. Adding Canterbury stalwart Richard Sinclair was the right move at the right time. One of the few British singers who actually sounds like he lives there, his soothing tone is perfect for the soundscapes Camel are painting. There are a couple of overt plays for radio that didn't really stick (I can't recall ever hearing Camel on the radio growing up in the late 70s), but they aren't soaked in saccharine pathetic whining, like so many of their peers were prone to do. They were to dive deeper into these waters on the also excellent Breathless, but even more brazenly commercial than here. The deal is, Camel were just damned good songwriters and musicians, so they were able to pull it off. I'd submit much better than Genesis did, though the latter clearly captured the corporate market far better. There's no accounting for good taste, now is there?

Ownership: Deram (CD). With historical retrospective and one single edit bonus track. Acquired in 1996.

1996; 2004; 6/14/20; 3/9/24 (review)

Mirage (1974)

The other day I was talking with local collector and friend Dr. Boom about Camel, and he indicated that he wasn't too enamored with them. "Too lightweight for me" he opined. That's unfortunately a common perception and criticism that Camel gets tagged with. Even for myself, when I think about Camel, it does occur to me they are on the softer end of the progressive rock spectrum. But are they really? I think Snow Goose and their later works adds to this notion. My introduction to Camel was via this LP, and thank goodness for that. For me it's a foundational album to my overall appreciation of music. I suggested to him that he at least revisit Mirage. Especially side 2. I think you'll walk away with a different experience. We'll see if he takes me up on that suggestion.

For my tastes, Mirage is in my Top 50, and maybe even Top 25. 'Supertwister' seems to represent half of my late 70s and early 80s instrumental Continental European prog collection, such was the impact it had on a global scale. Though, in retrospect, it would appear they were influenced here by none other than Tonton Macoute. This track is not from the Jethro Tull school of flute driven prog. As noted prior, all of Side 2 is a barnburner. 'Lady Fantasy' is absolutely bonkers, and closes the album with the stereo in flames. Nothing lightweight about Camel here.

Ownership: 

1974 Janus (LP). This is one of the very rare times where I prefer the US artwork to the European original when they are different. Acquired in 1984.

1974 Deram UK (LP). Acquired in 2015.

2002 Deram UK (CD). With liner notes and four live bonus cuts that total ~29 minutes. Acquired in 2002.

1984; 2002; 1//05; 6/23/06; 1/15/14; 1/19/24 (review)

Breathless (1978)

Continuing the transition found on Rain Dances, Breathless is even more geared toward a commercial sound. In retrospect though, there's plenty of thoughtful progressions within the tight confines of their pop songs. Vestiges of their progressive rock past can be found here as well, in particular 'The Sleeper'. 'Summer Lightning' sounds like an updated and disco'd up 'Winter Wine' from Caravan's classic In the Land of Grey and Pink. Of course, now having Richard Sinclair on board has a lot to do with that perception. 

Ownership: 1978 London Japan (LP). With giant poster. Acquired in 2020.

First copy: 1978 Arista (LP). Acquired in 1984.

1984; 12/10/20 (review) 

Other albums I own and need to review: Camel (1973); The Snow Goose; Moonmadness; I Can See Your House From Here; Nude

1/6/23 (new entry)

Carol Of Harvest ~ Germany

---8/21/01

Carol of Harvest are one of the legends of the progressive rock collecting world. Released on the ultra-private Brutkasten label, Carol of Harvest were destined to be a big collectors item. Frequently praised as the “best prog folk group ever”, the foundation was laid for dealers to fetch four-figure sums. “Acid guitar, long tracks and gorgeous female vocals”. All things considered, Carol of Harvest are a competent late 1970’s German progressive rock band with a slight folk edge. I hear similarities to fellow-countrymen like Rebekka and Werwolf, both considerably less expensive in the day before the CD reissue. Basically, Carol of Harvest blend female vocal-led folk melodies with drawn out prog rock arrangements featuring Moog synthesizer and some complex meters. Throw in some loud acid guitar solos and you have the makings for a super-imaginative record dealer to hype this puppy through the roof. This is no lemon mind you. Plenty of good ideas and original playing to entice the most cynical prog rock fan.

---8/22/26

Ha - look at that, I'm hearing this album again almost 25 years to the day of that review. Totally random. There was another listen mixed in there, as noted on the bottom line. You can sense from my original review a bit of the cynicism of my view of the record collecting world at that time. To correct one thing I said above, Brutkasten wasn't really a label, but one of those DIY imprints like Century, Rite, FLVM, and others. Essentially a private release from a known pressing plant. I'm also dialing back the prog rock tag towards folk rock.

For the music itself, one can appreciate the enthusiasm it garnered back in the day, as the music fit the UK psychedelic folk rock genre like a glove. And the additional synthesizers only add to the allure. For whatever reason that particular strain of folk was extremely popular with record collectors back then. In particular Trees was a leading light. And Carol of Harvest "avoids" the Krautrock sounds of the Pilz era bands like Emtidi and Broselmaschine. The music is very much what one would expect to hear in England from 1972. So the original date puts it out of time and place, yet another bit of excitement for collectors.

For my tastes, it's a rather basic folk rock album with shrill female vocals, excellent psychedelic guitars, and fine synthesizers. Brass tacks I realize, but I never derived much out of the album. I could probably "force" myself to love it, but I could do that with many albums if I tried hard enough. If you're tastes run towards folk rock, I would highly suggest you consider hearing this album. It is a cut above the norm.

As for its rarity, it's truly scarce. Discogs alleges that 69 people own it. That's nonsense. Most of those are the 1994 reissue for certain. Even the copies that sold were either that reissue, or missing the record altogether. The guy who has the $11,000 copy, while high, isn't crazy. So yes, buy the reissue. I'll probably let this go, but I just realized I never added to UMR, so here it is.

Ownership: 2001 Second Battle (CD). Digipak. Booklet with lyrics and photos. Acquired in 2001.

First copy: 1994 Brutkasten (LP). Acquired in 1994.

1994; 8/21/01 (review); 5/23/18; 8/22/26 (update / new entry)

Pat Martino ~ USA ~ Philadelphia, Pennsylvania

Joyous Lake (1977)

I'm still relatively unfamiliar with Martino's canon of work. But I was quite surprised to hear the energetic heavy guitar jazz fusion coming at me from the opener 'Line Games'. A little late in the game to get rolling on the Return To Forever sound, but I'm not complaining. A2 is more what I had expected here. Something like a jazz rock version of Gabor Szabo. The rhythm section is very busy, which I like. The rest of the album is mostly like this, with the exception of B1, which brings the heavy funk. Clearly inspired by Herbie Hancock. The bass and drums on this album is very complex, and I also appreciate the analog synth tones. Martino is picking away rather speedily. Intriguing album for sure. I'll hold onto it for now.

Ownership: 1977 Warner Bros. (LP). Acquired in 2026.

8/19/26 (review)  

El Hombre (1967)

I was a little bit familiar with Martino as his name has been bandied about when talking the kosmigroov genre, a style that I'm tangentially interested in. The one previous album I heard didn't leave much of a mark, though a relisten most certainly is in order. But this one did leave an impression. Immediately I was reminded of Gabor Szabo and Wes Montgomery, as Martino gently leads these jazz instrumental tracks with his fine lightly amplified guitar style. Complimenting him on the album are a five piece including no less than three on drums and percussion. But the two members that put this one into the excellent category are organist Trudy Pitts (check out the cover of Introducing the Fabulous Trudy Pitts - my kind of woman!) and Danny Turner on flute. The latter is known more for his saxophone work, but the instrument is not to be found on El Hombre. Wonderful late evening listening, a superb chillout close to the night. This was Philadelphia native Pat Martino's debut, though as the original liner notes point out, he was a veteran by this point. 

Ownership: 1985 Prestige (LP). Acquired in 2021.

1/10/21 (review)

1/10/21 (new entry)

Lenny White ~ USA

Streamline (1978)

While I'm crankin' on jazz fusion albums, might as well get ol' Lenny in on the action. It's clear that White wants to get his funk on here. Complete with pimp hat. Were you ever curious what a funk cover of the Beatles' 'Lady Madonna' would sound like with Chaka Khan on vocals? I guess I hadn't thought about it either but White goes forward with an answer anyway. A3 follows with an instrumental hard rock tune. OK then. A4 reintroduces us back to jazz funk with female chorus vocals. The side closes with a 22 second guitar-drums jam called  'Spazmo Strikes Again'. Clearly the man has an unhinged imagination.

'Time' opens side 2. Wanna guess the style? You win - jazz funk - this time with male vocals. 'Pooh Bear' represents the kind of instrumental jazz funk I've been getting into these last six years or so. Breezy, optimistic, yet complex in its own way. Hearing a bit of George Benson as well, especially the guitar solo. B4 was getting a bit Love Boaty for me until Nick Moroch plugs in and wails on the guitar. He's the same guy providing the hard rock on the flip. I don't recognize his name, though he has an impressive resume of contributions according to Discogs. In any case, it's the longest song, and not the highlight for certain. Too smooth jazz. For those who are patient, B5 finally delivers on the Lenny White fusion cred.

Tough album to grade and evaluate. It's unfocused but largely pleasurable - in its own way, though. Can't fault him for trying for something different, and funk seems to be his preferred genre. I might grow into it more. Worth holding onto, despite purging others similar. Paid a quarter for it, and it's not worth much more sadly. And it's a super nice copy.

Ownership: 1978 Elektra (LP). White label promo. Acquired in 2026.

8/17/26 (review)
 

Venusian Summer (1975)

Venusian Summer is one of those fusion albums that fell through the cracks as I was motoring through multiple titles over a decade ago. Since new copies of the CD are going for the same price as a pack of bubblegum, I thought I'd re-engage.

This is Lenny White's first solo album, and he must have called in all his markers, as you'd be hard pressed to find such a list of fusion all-stars on one album. All but his comrades in Return to Forever are here, except Al Di Meola who rips on the final track trading insane licks with none other than Larry Coryell. The music isn't straight fusion, but rather has a strong funk bent. As well as prog rock, as heard on the title track. 'Mating Drive' is a burner, one of the heaviest fusion pieces you'll ever hear. Larry Young is a beast on the organ, while Doug Rauch and White goes nuts on the rhythm. Meanwhile Ray Gomez absolutely shreds on the guitar. Mid 70s jazz fusion at its best.

Ownership: 1999 Wounded Bird (CD). Acquired in 2025.

8/11/07; 4/2/14; 12/29/25 (review)
 

The Adventures of Astral Pirates (1978)

One presumes Lenny White was hitting the wacky weed pretty hard during this era, if we are to absorb the concept, cartoons, and storyline of The Adventures of Astral Pirates. Well, no matter, as White has turned in a powerful, mostly instrumental, jazz fusion album not that far removed from his other gig with Return to Forever. So Chick Corea was into Medieval knights and White was into alien pirates from antiquity. Like I said, could have been the bud.

What makes The Adventures of Astral Pirates such a great album is the solid compositions, strong melodies, some indigenous global sounds, and - to be expected - expert musicianship. It would be easy to laugh off a work such as this, but doing so would be at your loss. And what I respect most about White's album, is that he doesn't feel the need to remind you that he's a monster drummer. Other than a small bit on 'Assault', this is truly ensemble material. A good one that I feel is often times overlooked.

Ownership: 1978 Elektra (LP). Gatefold. Complete with outrageous story and artwork. Acquired in 2008.

2008; 6/3/14; 7/10/18 (review)

7/10/18 (new entry)

David Sancious ~ USA

Forest of Feelings (1975)

Time to spin up a David Sancious page. He's an artist I've been aware of since the 1980s, but haven't really dug too deep into his catalog. I did write a couple of journal entries, which we'll process below.

I've long been a fan of Windchase's 'Glad To Be Alive'. I did not realize Mario Millo had borrowed the primary melody from the opener here 'Suite Cassandra'. I'm not sure he knew it either, but likely subconsciously reproduced it, and embellished with vocals. I tend to categorize Sancious with jazz fusion, but here he's clearly operating in prog rock territory. Comparisons to ELP are largely superficial, only in that Sancious gets in plenty of analog keyboard solo time over a solid rhythm section. The music is more towards what we might hear coming out of Western Europe. That is to say, less commercial, but very melodic all the same.

A3 is a proto new age piece, somewhat like Vangelis and Deuter. A4 is a crazy classical interpretation. I could swear there was mellotron on it too, though AI is refuting that claim.

Side 2 is, if anything, more energetic and prog oriented than the flip. There's hints of fusion here, primarily in Sancious' keyboard and guitar solos. As with Just as I Thought, I'm compelled to give this a +2. Considerably better than my memory had it.

Ownership: 1975 Epic (LP). Acquired in 2026.

8/17/26 (review)

David Sancious & Tone - True Stories (1978)

Alex Ligertwood's vocals are annoying here and the progressive rock attempt is too forced. I was somewhat disappointed in this effort, especially considering I like his albums prior. (I'll try to get some more words around this. I think the LP is still here, nobody bought it lol).

Source: 1978 Arista (LP) Promo.

6/21/24 (review)

Just as I Thought (1979)

David Sancious was always an odd bird, sitting somewhere in no man's land between symphonic progressive rock and jazz fusion. Just as I Thought closes the book on this phase of his career. His next album The Bridge is nothing more than introspective piano numbers. Not for me. But this album is excellent. The title track and 'Suite (For the End of an Age)' represent the progressive rock numbers. 'Valley of the Shadow' is highly unique, a mixture of fusion, prog, and electronic. For me, the highlight of the album. Opener 'Run' and the last two tracks offer up the typical fusion of the era. The vocal track 'Again' and the acoustic 'The Naked I', can be skipped, and they're conveniently back to back. This isn't my first time to hear Just as I Thought, and this ended up being a +2 listen.

Ownership: 1979 Arista (LP). Acquired in 2021.

5/10/21 (review)

Also own: Transformation; Dance of the Age of Enlightenment

Previously owned: The Bridge

8/17/26 (new entry)

2026 Fusion / Jazz Journal Vol. 4

*Stanley Clarke. Epic (CD) (1974). I've had this title in and out of the collection, both LP and CD, going back to 2014. This listen convinced me to keep it. The music is an extension of where Return to Forever was on Hymn of the Seventh Galaxy, and one could see this being the album released instead of Where Have I Known You Before if Bill Connors had stayed with the group on guitar. Jan Hammer and Tony Williams certainly play in a different style than Corea and Lenny White, giving it a different dimension. This isn't as much a "solo" effort as his later works. He does sing on one track which is more cute than offensive. Solid prog fusion album. Thought about creating a page for Clarke, but for now I have three albums in the journals, which seems to be the right place unless I continue to add more. (8/16)

Lonnie Liston Smith - Exotic Mysteries. 1978 Columbia (LP). As with A Song For The Children, I'm including this title in the journals for now. I have one of his classic titles here ready to be listened to, and I'm expecting to build out a page at that time. Exotic Mysteries starts off with an upbeat disco number, once again alienating his built-in audience. But hey, everyone was doing that back then, including Donald Byrd (noting the white pants while at it). This is followed by a mellow tropical jazz number that wouldn't be out of place on a 60s era Sergio Mendes album. Very pleasant. The third track goes in for jazz funk, with enough edge (credit goes to the rhythm section for this) to keep it out of the smooth jazz category. The title track captures a beautiful groove with some wonderful melodies. Donald Smith's flute juxtaposed against Smith's echoed electric piano is divine. Side 2 continues in a similar fashion, demonstrating the opener is an anomaly. I didn't get into the compositions as much here. They are certainly very good, though it fell just short of keeper status. For my tastes the clear highlight is A4 with A2 coming in above the bar. (8/7)

Fusion Juice - First Taste. 2006 Digital Dream (CD). Another quarter bin find. I picked this up because Fusion Juice is a dumb name, sports a sexy cover, are a local Denver area band, and perhaps I may have found a new hot jazz fusion album. Uhh... no. From the very first few seconds, it becomes apparent this is not the next Mahavishnu Orchestra or Return to Forever. First Taste clearly falls into the smooth jazz category. You know the sound. Funky slap bass, digital synthesizers, saxophone, lightly amplified guitar, and danceable rhythms. The musicianship is high, the creativity is low. All the same, the music is easy to listen to and isn't a bad way to drop 40 minutes or so. I can totally picture the scene of this band and the CD. Imagine a cool evening at a Colorado mountain club, sitting outside taking in the atmosphere. Grab a couple of alcoholic beverages and immerse yourself into the smooth textures of the band. A few kind folks then feel obligated to purchase the CD they have on hand, take it home, and maybe listen to it once. And then it finds itself in a thrift shop. "Why did we buy this again?" asks the aging couple as they downsize before retiring into their condominium. Even the track 'Guitarmageddon' is lightweight. They really should have let loose at least once. The only surprise this album had for me was the date. I was certain it was from the 90s until I looked at the CD. (4/22)

* - Keeping for the collection

Iron Butterfly ~ USA ~ San Diego, California

Sun and Steel (1975)

Sun and Steel is the second of Iron Butterfly's 1975 reunion albums, and represents their final studio effort. As noted on the Metamorphosis review, the band was always "jus' gonna" reunite. They were hapless after 1968.

As for the music, it's not as bad as its reputation suggests. Technically it fits in the hard rock genre, but the whole effort is at least three to four years behind the times. The keyboards are from an earlier era with plenty of the trusty Hammond, and would you believe, quite a bit of mellotron! B2 and B4 are practically prog rock compositions. The latter the highlight of the album, though interestingly it's the title of their previous effort. The problem here is their variation of hard rock. Long time guitarist Erik Braunn brings the appropriate tone. The issue is they're stuck in bar n' roll land. Pounding piano and BTO styled dance tunes are all the wrong moves for a band that never could see their own potential. Iron Butterfly should have been as relevant as Iron Maiden is today. Their mantra: Should have been.

Source: 1975 MCA (LP)

8/14/26 (review)  

In-A-Gadda-Da-Vida (1968)

I've written about every original-era Iron Butterfly, except for the big one. For my prelude to the Ball album (see below), I wrote the following:

Iron Butterfly. Sigh. Was there ever a group with more commercial potential, and then just fell off the face of the Earth? Maybe, but this band has to be at least in that conversation. In-A-Gadda-Da-Vida wasn't just a good seller, it was a major blockbuster - the album that put album rock on the map. And it was highly influential to boot. One can hear the early Krautrock and UK Vertigo groups taking a page directly from it. They were, in effect, crowned to be America's own Led Zeppelin - a band that opened for them, before ultimately the other way around.

---

And then I went on to describe why Iron Butterfly weren't meant for the big time. So now we tackle the album that sent the group through the stratosphere. They weren't a one hit wonder in the traditional sense, which is usually saved for singles and the like. When I started hitting the used bins in early 1984, most of the record store owners had to say something about everything I bought - for some unknown and annoying reason (aged druggies in reality). Such as Focus' Moving Waves. "We used to get stoned during the yodeling parts...". In general, the reaction I received for albums I brought to the counter were "what the hell is that anyway?". Oftentimes I didn't know either - it looked cool so thought I'd try it out. Usually for less than three bucks (today some are going for $500 or more you Einsteins). But there were two bands that received outright derision from these clowns. One was Grand Funk Railroad (which I will still defend) and... Iron Butterfly. Especially this album. Constant references to what a joke it was. Not good music like - I dunno - The Band or Bruce Springsteen. Yea, OK. I'll make my own decisions, thank you. I always marched to my own drummer anyway (so to speak haha in this case), so other's opinions didn't matter much to me at age 19. Still don't nearly 40 years later.

I always liked the first side. In some ways it's similar to Brainticket's Cottonwood Hill. I love those first two tracks and would die to hear more like it. But the focus is always on the 30 minute Brainticket suite. Same for In-A-Gadda-Da-Vida. All the songs are good - much better than the short form tracks on Heavy or Ball. So they improved in this way too. One wonders what would have happened had they just stuck with the single version of the title track, and added four or five more songs like it. Would have the album been more well received today? Would have it been as monumental as it was in its day? I think the answer to the first question is yes, and the second a big no.

The old-timers will tell you the truth - there just wasn't anything like this in 1968. I was all of 3 when this came out, so I cannot tell you a thing about its impact real time. But I am a student of history and it becomes clear that one must have context when listening to it. And do not kid yourself - if you don't think young Germans and Englishmen were tuned deep into this, then you're not serious. One can hear the embryonic form of Krautrock very clearly. And so did all those bands in the British underground.

About midway through the six minute mark comes the famous drum solo. Now if you can take anything away from my ramblings on this blog, you will have noted I hate drum solos. To me they are the biggest waste of recording space ever. I love this drum solo. It is a work of art. He's not spazzing out like an overly caffeinated zoo animal bashing on whatever he can find. Yea, I've sat through plenty of Neil Peart's drum solos at Rush concerts. Ron Bushy wins. Maybe not on technical points, but on enjoyable points. And - oh by the way - it ends at the nine minute mark. A whopping two and a half minutes of solo time, big deal. Then comes in the haunting organ. Like early Tangerine Dream or Mythos - or Pink Floyd. Yea, your cherished gods Pink Floyd were listening too. Everyone was, that's the point of this review. Then comes the guitar. It just oozes psychedelic atmosphere. How about checking out what they're doing at the 13 minute mark. Seriously? You're going to declare this album is no big deal? 

And here we are in 2023, and people are still talking like the record store guys in 1984. No hope for mankind I guess.

Ownership: 

1968 ATCO (LP). Monarch pressing. Best copy I've ever had. Acquired in 2026. First copy was from 1984. There were a few others.

1995 Atlantic / Rhino (CD). Cover features a Lenticular image. Features a live version of the title track performed way too fast with now the drums becoming annoying, but sure why not? It's the live experience. Also includes the single 45 version. Acquired in 1996.

1988 ATCO (MC). Acquired in 2024.

1972 Atlantic Germany (8 track). Acquired in 2025.

All I need now is the reel to reel!

1984; 6/23/06; 9/15/23 (review)

Metamorphosis (1970)

Metamorphosis is the album that supports the thesis of Ball. By this time, Iron Butterfly were so utterly confused as to what their self-identity was, they ended up in a stasis of nothingness. Like many bands coming from the US in 1970, Iron Butterfly's album can simply be described as "rock". It's mildly heavy, it's mildly progressive, and it's mildly annoying. 'New Day' represents about the only decent song here, while the rest sort of blows by without notice. 'Butterfly Bleu' is their last gasp at thinking perhaps maybe they were still a groundbreaking unit. And there are glimpses of great within, but of course most of it is just noodling around in the name of high art. They really had no clue at this point what they had started only two short years before. And then finally Ingle threw in the towel. Game over. As we learned with the 45 of 'Silly Sally', Iron Butterfly continued on in vain without him. They were moving in the direction of BST styled horn pop, so they were definitely going the wrong way. It was hopeless.

Iron Butterfly were to reform in the mid 70s without Ingle in tow. That unit predictably had little impact and also imploded. For the 40 years since then, Iron Butterfly has reformed (with Ingle this time) and broken back up. There's always going to be a new album, but yet it never somehow surfaces. Now the living members are in their 70s. Somehow I doubt a Spettri like phenomena will happen here (2973 La nemica dei ricordi). Woulda, coulda, shoulda. That should be on their tombstone outside the Rock n Roll Hall of Fame. Almost there, but not quite.

Former ownership: 2009 Victor (CD). Papersleeve.

4/15/17 (review)

Ball (1969)

Iron Butterfly. Sigh. Was there ever a group with more commercial potential, and then just fell off the face of the Earth? Maybe, but this band has to be at least in that conversation. In-A-Gadda-Da-Vida wasn't just a good seller, it was a major blockbuster - the album that put album rock on the map. And it was highly influential to boot. One can hear the early Krautrock and UK Vertigo groups taking a page directly from it. They were, in effect, crowned to be America's own Led Zeppelin - a band that opened for them, before ultimately the other way around.

Ball is exactly the type of album that demonstrated why Iron Butterfly weren't meant for the big time. It's just so average. A band caught twixt and between heavy rock, pop rock, and psychedelic with no ambition. All played at 70% of capacity and enthusiasm. There's excellent stuff on here for certain, like 'In the Time of Our Lives', 'Filled With Fear' and 'Belda-Beast', but nothing mind blowing as on In-A-Gadda-Da-Vida. Doug Ingle was an immense talent. I don't get The Doors comparisons, other than they both had sonorous voices. Ingle was far more rough than Morrison, and had he come along a generation later, would have made for the perfect heavy metal lead singer. His keyboard style was born from the church (his dad's Midwest influence), and he sounds like he's playing a pipe organ sometimes. Ball should have been the album to project Iron Butterfly to the next level of creativity. But they seemed to recoil from the responsibility. Nine songs totaling 33 minutes, some of which are real throwaways. Nothing really memorable. It seems they didn't know their place in history and thus gave it away unceremoniously. And this was the album they did exactly that with. There's another chapter to tell here of course, but that's for the Metamorphosis review.

Ownership: 1969 ATCO (LP). Gatefold Unipak. Acquired in 2020.

4/15/17 (review); 8/3/21

Heavy (1968)

Iron Butterfly's debut is often flogged because of what came after it, not because of the album itself. The weighty expectations of a much forgotten album, and in retrospect, isn't heavy in the slightest. As stated by others, heavy didn't mean "heavy metal" in 1968. Even philosophically no one will ever accuse Iron Butterfly of being Descartes. But that doesn't mean that the group didn't release a competent, if not extraordinary, late 60s psych release. There are four really solid tracks here in 'Possession', 'Unconscious Power', 'You Can't Win', and 'Iron Butterfly Theme' with fine organ, guitar, and vocals. Sure, there's some filler here too. Honestly, rare is the US major label psych album which didn't have filler. Keep expectations in check, and I think you'll find Heavy an album worthy of your time.

Ownership: 1969 ATCO (LP). Acquired in 2021.

7/12/16 (review); 10/2/21

1/1/17 (new entry)

Allan Holdsworth ~ England

Metal Fatigue (1985)

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

Source: 1985 Enigma (LP)

8/13/26 (review)   

Velvet Darkness (1976)

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

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

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

6/7/24 (review)

Atavachron (1986)

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

Source: 1986 Enigma (LP)

7/14/23 (review)

Previously owned: I.O.U.; Heavy Machinery (w/ Anders Johansson and Jens Johansson)

7/14/23 (new entry)