Asia ~ USA ~ South Dakota

Armed To The Teeth (1980)

I remember when Michael Piper debuted his new reissue label with Asia's two albums. It seemed such an odd choice for a diehard progger like him. I heard the CD not long after release, but didn't think much of it at the time, and passed on buying my own copy.

Many years later, with my tastes having broadened more and more into hard rock territory, I finally relented and purchased the CD. And enjoyed it much more. I was probably just catching up with the label owner's more advanced tastes.

What we have here is a distinctly Midwest North American sound, that which mixes hard rock, prog, and AOR sensibilities. Rush, Styx, Kansas, whoever was getting on the radio, that was the blueprint. These were all bands that possessed a lot of talent, but also toed the line for the major labels, since much moolah was at stake. I've documented this extensively on this blog and RYM, so I'll stop here. Just know that Asia were yet another willing participant in this once great scene.

And we hear that sound throughout Armed to the Teeth. Each track has purposeful hooks to gain DJ attention, and then they breakdown into sophisticated instrumental patterns. The music rocks hard, so as to maybe earn credibility in that market as well. Though by 1980, heavy metal was emerging, and Asia were falling behind the times. And they still employed the mellotron, an instrument relegated to museum status during this era.

Rapid City's Asia were the first to market with the healthy moniker of Asia. It would only be a year later that the ex-big-name English proggy boys went by that name, while going whole hog for commercial radio styled tunes. Despite legally owning the name, it's pretty tough to sue international megastars without a reservoir of personal cash, and naturally that wasn't the case. And into the mists of history went South Dakota's Asia. Only to be resurrected by hungry LP collectors many years later. Asia (SD) remains a footnote in music history, but their legacy is strong when considering the Midwest hard rock / prog movement.

Ownership:
1980 private (LP). Acquired in 2021.

1995 The Wild Places (CD). with Asia (1979). Extensive liner notes. Lyrics provided as well. Acquired in 2011.

11/3/11; 5/18/26 (review)

Also own: Asia (1979)

5/18/26 (new entry)

Magma ~ France

Christian Vander - Tristan Et Yseult / Wurdah Itah (1974)

Yet another neglected title in my collection, it would seem I haven't heard this in 31 years. Probably not entirely accurate as I didn't catalog my listens prior to 2004, other than its initial entry. All the same, I'm long overdue for a refresher.

Despite this title being released under Vander's name, there's really nothing to distinguish this from a Magma release. Perhaps a bit more stripped down in the instrumental department - with more attention given to the piano - but this is clearly the exact same sound (and in some cases, the exact same music) Magma was pursuing in their Mekanik era. Hard to imagine an album like this as a soundtrack, and after some research, it's not really that medium either. Apparently the music plays a much larger role - more like an artsy, experimental, full length music video. I haven't seen it, and reviews point to a certain amateurism, but it sounds like one of those ultimate cult classics to me.

As for Magma fans, this is yet another indispensable album, and its provenance serves only as a distraction to the casual fan. Vander, knowing this, started using the title Wurdah Itah in the CD era. Much more representative than the French titled opera tale, and it's most certainly the name that will stay for its remaining legacy.

Ownership: 1989 Seventh (CD). Acquired in 1995.

1995; 5/18/26 (review)

 

Zühn Ẁöhl Ünsaï (1974 / 2014)

The problem with listening to Magma albums is that you have to find the proper time to do so. It's not like I wake up in the morning, and say "Gee, Magma would sound good with my coffee right about now". Especially their two CD efforts. And especially their two CD live archival albums, where you know much of the material already. So after a proper morning routine and some relative light listening, I was ready to tackle Wagner at the opera matinee. 

As with Soft Machine, Magma frequently changed lineups, so you might hear familiar compositions, but the interaction of the new members gives the sound a unique slant. Though in this case, you have one constant, the concrete pillar known as Christian Vander, so the deviations remain tightly controlled.

The concert opens with the relatively obscure 'Soẁiloï' before launching into a somewhat compact version of Mekanik. This rendition is a bit reckless, and the dynamics that make the studio recording so special, are missing here. CD 2 starts with 'Korusz II', essentially a showcase for Christian Vander to improvise on everything, but primarily drums of course. It's 20 minutes, so a slog for those of us looking for some compositional ensemble playing. The concert ends with a 25 minute version of 'Theusz Hamtaahk', a piece that did not make its studio debut until 2001. My introduction was via the Retrospektiw live show at the bottom of this post. I'm not really that familiar with the piece, like I am for Mekanik, so it still has a freshness to my ears.

Considering everything I already own from Magma, this live set is probably superfluous at this point. I'll hold onto it for a while, but I don't see it making the distance.

Ownership: 2014 Made in Germany (2xCD). Tri-fold digipak. Booklet with history and perspectives. Acquired in 2014.

8/25/14; 10/13/25 (review)

Attahk (1978)

No Genius Hans, everyone knows that Attahk is the worst Magma studio album of the 70s. Right? Well... I held that view myself - until recently. I'm really growing fond of this album. I kind of like its funky and compact nature. Great melodies too - it was a cool departure for the band.

Ownership: 1978 Tomato (LP). Reacquired in 2026. First acquired in 1988. Also once owned the CD that was the source of this review.

1988; 2008; 11/30/14; 2/15/23 (review)

Kohntarkosz (1974)

One of the most frustrating albums in my entire collection is this one. Even though it's smackdab in the middle of their classic period - and it's highly rated by fans - I think it's their worst album of the 70s (well OK, not counting Inedits, but that one shouldn't count lol). It baffles me. Its predecessor is currently #12 in My 25 Most Important LPs list. The first album is #16. Magma Live is one of the all-time great live albums, and includes a large segment from this very album. Udu Wudu features the monstrous 'De Futura', perhaps their best track ever. But Kohntarkosz? Yea, I mean it's good for sure. It just seems dark and foreboding for its entire length. It misses the joyous melodies and insane climaxes of their other albums.

Ownership: 1974 A&M (LP). White label promo. Acquired in 2026.

First copy: 1980 Celluloid (LP). Acquired in 1986. Also once owned the CD which was the source of this review.

1986; 10/30/14; 2/15/23 (review)

Felicite Thosz (2012)

Sold? Sacrilege! You cry out. I know, I kind of feel the same way. Magma's discography isn't perfect though. All the same, most of their albums are first division, some at the very top of the pyramid. This album seemed more perfunctory than kinetic. Much of their post 2000 work has been terrific, some of the best music they ever made. Making this album that much more of a disappointment. This is the last album I bought by them.

Former ownership: 2012 Seventh (CD). Acquired in 2012. Downsized in 2022.

7/4/12; 11/14/22 (review)

Magma (1970)

Magma's debut was my introduction to the band (in 1985). I guess I would have that in common with those that were buying new albums in 1970. And I'm sure their reaction was very similar to mine: What....The....F is this? Not only was the world of Magma completely foreign to me, but at that point in my life, I probably had less than ten continental European underground prog albums. I was determined to understand it. I played it over and over. It was almost impenetrable. I don't think I ever truly grasped what they were trying to do, until many, many years later. But at least I was intrigued enough to continue with the band, and as mentioned on the Mekanik review, I became a Zeuhl fan for life.

Even for Magma, it's clear they didn't really have a direction yet. It was Christian Vander's band, yes, but it was far more democratic than it was to become. The songwriting here is very disparate. Initially Magma was created as an homage to John Coltrane, and this is evident with tracks such as 'Aina' and 'Malaria'. The Magma of the future only truly showed up in Vander's compositions, like 'Kobaia', 'Aurae' and especially 'Stoah'. But jazz is still front and center to their sound, and one cannot help but notice a certain Zappa influence in parts, which was popular in the European underground in those days. Especially with the tightly written charts and melodic songwriting. There's even traces of horn rock here proving that, yes, Magma were a product of their day. But you have to start somewhere, and Magma did so with a bang. They would continue to shape their brand as it were, and ultimately become the icons they will always be - for eternity.  

Magma's debut is really not the place to start if curious about the band. But it remains one of my favorites by them, because it shows another side of their talent. It would have been interesting to see that flourish as well. They tried with Univeria Zekt, but they didn't take off as expected.

Ownership: 

1970 Philips (2xLP). Gatefold with flaps to protect the inner sleeve. Hard to imagine a crazy band like Magma to be afforded such a budget back in 1970, but such were the times back then. My copy is known as the "Chappell" version. Acquired in 1985.

1988 Seventh (CD). Fat box with booklet showing the recording details. Acquired in 1995.

1985; 1995; 8/24/21 (review)

Mekanïk Destruktïw Kommandöh (1973)

The most relentless album ever made. From the opening choppy piano notes and pounding rhythms, Magma lays down the gauntlet for their 3rd opus. They'd been fiddling with the formula since the beginning, and it's here that they (mostly) shed their jazz influences for one of classical and opera. With full choirs and a heavy brass section, along with lead vocalist Klaus Blasquiz going absolutely out of his mind, Magma pounds every sense you possess. Despite what sounds like a slog to get through, Mekanïk Destruktïw Kommandöh is surprisingly melodic. It's a case study on how to use dynamics in what would otherwise be considered an oppressive environment. There's plenty of light touches throughout to build the mood and atmosphere. And all of this is done using their home baked Germanic Kobaian language. But what makes Mekanïk Destruktïw Kommandöh special is not the constant buildup, but rather the most intense climax and release one can possibly imagine. After some 30 minutes of grinding, Magma goes berserk on the title track, burning everything down in flames. The subsequent finale expresses a post-apocalyptic world. Where everything is now in ruins. This is the Zeuhl masterpiece that inspired dozens of musicians worldwide - and for generations to come.

This was not the first Magma album for me to own (I lucked into the debut prior), but it was the one that convinced me I was to be a Zeuhl fan for life. I purchased this in the summer of 1986, long before I had a grasp on the European progressive rock underground. So yet again we have an album that shaped my tastes, rather than validated them. In fact, it took a full year to finally hit me. For my final semester in college (fall 1987) I was forced to live in an efficiency apartment. I didn't bring my stereo, just a Sony cassette boom box (which I still have!). I made a handful of tapes for these final four months, and this was one of them. There were days when this was all I would hear. It's almost impossible to believe that Herb Alpert's label would release something like this here in the States. We're a long way from Sergio Mendes.

Ownership: 

1973 A&M (LP). Gatefold. Inner gate has lyrics and English translations. Acquired in 1986.

1989 Seventh (CD). Acquired in 1995.

1986; 1987; 1995; 8/23/21 (review)

Retrospektiw I-II (1981)

Hadn't heard this in 22 years - and recalled nothing about it. Well it's live Magma, so the surprises are about nil at this point. It's a spirited show, but pales against Magma Live Hhai, or even some of the released archival 70s shows that have come out in recent years. My score went down a bit, but still has to be considered essential for Magma fans.

Ownership: 1994 Seventh (2xCD). Fat box. Acquired in 1998.

1998; 9/21/20 (review)

Also own: 1001 Centigrades; Magma Live; Udu Wudu; BBC 1974 Londres; Theusz Hamtaahk Trilogie; K.A.; Emehntehtt-Re 

Formerly owned: Inedits; Retrospective Vol. 3; Merci; Theatre du Taur; Bobino 1981

9/21/20 (new entry)

Alrune Rod ~ Denmark

Hej Du (1971)

It's been forever since I've heard any of the first three Alrune Rod albums. So it was nice to see Hej Du come up for a listen, especially since I picked up the original LP in the last few years.

Like many bands from Denmark, Alrune Rod's hippie roots are very apparent. This is particularly true on the opening piece, and the term "rural rock" inevitably pops into ones mind. We hear this with Culpeper's Orchard as well. By the title track, clocking in at 15 minutes, a stoned jamming atmosphere begins to enter stage left, complete with impassioned mumbling vocals. Stellar guitar and Hammond organ solos emerge while the rhythm section picks up the pace considerably. I'm more reminded of the Dutch scene like Group 1850 and Ahora Mazda than anything else coming from Copenhagen. This leads to the side long B side. Well it's 1971 northern Europe, so you can already guess where this will head. Early Pink Floyd and the Krautrock movement in neighboring Germany are but two guideposts. Overall, a fairly distinct sound coming out of Denmark and a solid classic of the early 70s underground.

Ownership:
1971 Sonet (LP). Gatefold. Acquired in 2023.

1998 Sonet (CD). Sonet Arene 1969-72. Includes their first three albums plus bonus tracks. Booklet contains photos and recording details. Acquired in 2003.

First copy: 1990's "Sonet" (LP). Gatefold. Unofficial. Acquired in 1998. Long gone.

1998; 2003; 5/18/26 (review)

Myrth ~ USA ~ Phoenix, Arizona

Myrth (1969)

---5/12/15

I'd say within the horn rock spectrum, Myrth tracks closest to Ides of March. The vocals are gruff, and the music is hard charging. The horns are tight and well charted. And, yes, there's a commercial slant to some of the material, that is wonderfully offset by more progressive leanings. This is exactly the style of music you'd find on Ides of March's Vehicle, a much under appreciated album in my eyes. It remains debatable if the horn rock era will ever find a new fan base after its initial run. But if it does, Myrth should be an early consideration.

I haven't been able to discern where Myrth originated. The album was recorded in Hollywood, and it would seem given the logistics of a large ensemble, that southern California would be the logical source. But I've also found references to Utah and Arizona, that are possible but not conclusive. 

---5/4/26

That was the CDRWL entry and now the album makes its debut into the UMR. At one point, I kept albums that needed a reissue separate on that blog, even if I owned the item. I'll be moving quite a bit of albums over here, as I'm now getting to that part of my collection.

My original review still stands. I would also submit that the reason many of these horn rock albums didn't make it, and Myrth is no exception, is the lack of a memorable song. While the ten tunes on display are well written, the obvious chart tries fail to deliver. Not everything is geared for the radio, and there you will find the better compositions. As you will see in the video below, the producer also suggests that RCA had no idea how to market the record.

As for the origins of the band, we now have the complete story from their producer John Florez. This is well worth watching, and it also explains the annoying bird lol. Myrth story.

Ownership: 1969 RCA (LP). Gatefold. Acquired in 2015.

The album remains without any kind of reissue as I enter this on 5/4/26.

2008; 5/12/15 (review); 5/4/26 (update / new entry)

Eulenspygel ~ Germany

Eulenspygel 2 (1971)

Eulenspygel 2 is known prominently for two things: 1) The German lyrics and 2) The chicken leg cover. Funny that I just finished focusing on the language situation with Novalis, but it was even more dramatic in 1971. Apparently only pop groups used German in those days, and no one would take a rock band seriously unless English was used. Today it almost seems code for the subgenre known as Politrock, and sure enough, that is precisely why they used the native language. According to the liner notes of the CD, the lyrics are a trite type of anti-war messaging, and not very interesting.

Musically, the album follows a heavy blues rock pattern, with some Krautrock atmosphere and production. Lengthy jamming on the organ with flute accompaniment also points to the German underground. Vocals can be dominant when Detlev Nottrodt takes the mic. From a comparison standpoint I was reminded of Franz K. and Hanuman, other early German bands with a native lyrical message.

I'm pretty certain I had this on LP in the late 80s, but it wasn't what I was seeking at the time, and traded it out quickly. Today I enjoy it within an historical context, though certainly not one of the highlights of the early 70s Krautrock scene.

As for the cover, the missing chicken leg in the frying pan apparently set off the mores of the German publik, and the second pressing removed it. According to GoD, this later pressing is actually more scarce than the original.

Even though this is the debut by Eulenspygel, the title indicates differently. From the viewpoint of the group, Eulenspygel was an extension of Royal Servants, who had released an album the year prior. There was also a recorded English version of this album on master tape, though apparently no copies exist today.

Ownership: 1999 Garden of Delights (CD). Booklet with a full history and archival photos. Acquired in 2011.

11/5/07; 3/14/11; 5/4/26 (review)

Also own: Ausschuss

Once owned: Eulenspygel (1979)

5/4/26 (new entry)

Novalis ~ Germany

Novalis (1975)

---Jun 2005

I always forget how good this record is until I hear it again. What great sounds they managed out of their guitars and fat keyboards. Fantastic and memorable melodies. And, if nothing else, Novalis proved the German language is a fine vehicle for progressive rock. Shame more groups from there didn’t follow suit. The heavily accented English doesn’t always cut it. Maybe the modern groups are better, since they learn the language earlier + many are in the metal camp, where the accent is easier to hide amidst the noise and chaos. Anyway, this one is a classic for sure.

---5/4/26

Well I certainly reference this album enough, including below. So it's about time I'm listening to it again and formally adding it here to UMR. I hold it as a great example of the melodic symphonic prog bands coming from Germany starting in the mid 1970s. This isn't Krautrock, but rather a new type of progressive rock, unique to Germany. Including going back to their native language, something the nation seemed loathe to do only a couple of years prior. Despite the change in language, the album is largely instrumental. Lutz Rahn puts in a splendid performance on both organ and synthesizers. The addition of Carlo Karges (previously of Tomorrow's Gift) on guitar gives Novalis the extra punch they needed.

The opening sentence of my review from 2005 ends up in the gospel truth category at this point. An indispensable album.

Worth noting the beauty of the cover, one I frequently display on my Wall of Albums.

The CD adds an excellent and energetic version of 'Impressionen'.

Ownership: 

1975 Brain (LP). Gatefold. Green label. Acquired in 1989.

2005 Brain Japan (CD). Papersleeve gatefold. English and German booklet with history and archival photos. Contains one bonus track. Acquired in 2005.

1989; 6//05 (review); 5/4/26 (update)
 

Sommerabend (1976)

Recently I finally penetrated the debut Banished Bridge, capturing a drifty Krautrock vibe that I had missed prior. And the second album is the one I'd always held in the highest esteem (another one I need to revisit). As the years go by, I value melodic songwriting more and more, and that's right in the wheelhouse of this era of Novalis. So with all of that as background context, and the fact Sommerabend is typically rated the highest by fans, I figured this would be the listen where the album opened up for me in a big way.

Nope. In fact it took a step back. But at first I was highly engaged. The instrumental 'Aufbruch' is exactly what I was expecting, with memorable melody lines, and creative breaks. It is on 'Wunderschätze' that the albums begins to break down. At first, my positive bias carried it through. But a second listen had me realizing where the problem lies. And that's because the side longer title track doesn't hold up as well, and reveals this material weakness. Now I'm not suggesting it isn't any good - of course it maintains that melodic and spacey vibe Novalis is known for - but it gets a bit... dull on occasion. Whereas Banished Bridge maintains this Dom like downer mysterious vibe, Sommerabend just sounds mopey dopey at times. Perhaps the band is too sober by 1976. It's more like same era Eloy / Pink Floyd verse the more sprightly sound that Novalis seems to have patented, and exploited more on their sophomore effort.

Ownership: 1976 Brain (LP). Green label. Acquired in 1993.

12//93; 1996; 6/3/13; 10/11/17 (review)

Banished Bridge (1973)

Novalis' debut has taken me a long while to digest. When I think of Novalis, I think of a band that is highly melodic, polished, superbly arranged, with sparse vocals in German. Banished Bridge is none of those things. Novalis' debut has about as much in common with the rest of their output as does Eela Craig, Scorpions, and Eloy's opening moves. I've often read that Banished Bridge sounds like early King Crimson, or even other more established UK prog bands of the era. I don't hear it myself. Maybe Wenzel occasionally sounds like Greg Lake, but with a thick German accent.

Still, what is it that we have here? I've owned this album in one form or another since the late 1980s and I couldn't tell you. Time to figure it out.

It's the title track that really throws one off the scent. So finally I decided to listen to Side 2 first. On these three tracks we have a fairly typical organ based Krautrock sound, very much what you would expect to hear in 1971. So from that angle, Novalis are behind the times, but still pleasant. Solid 3.5 material.

But the title track, this is the secret of the album. Basically it's a symphonic prog version of Dom's Edge of Time. What? Well... there are these long stretches of tranquil / drone trip-out music with mumbling downer vocals in English that do in fact recall a mold infested bridge-to-nowhere in the countryside. Out of the depths of depression rise the organ and synthesizers, which provides the perfect contrast. And so it goes between both styles for its 17 minute duration. Awesome. Had this been side 2 instead, I'm sure this album would be more highly regarded today. It sounds like a side 2 honestly.

Personally I think this album is a lot more "true Krautrock" than ever given credit for. After this, Novalis along with Eloy, pretty much defined the German variation of symphonic progressive rock. Almost the antithesis of the raw Krautrock sound we've been accustomed to.

Ownership: 1973 Brain (LP). Gatefold. Green Brain Metronome. Acquired in 1989.

5/23/89; 1997; 3/17/17 (review); 11/9/25

Vielleicht bist du ein Clown? (1978)

Once hearing Vielleicht bist du ein Clown?, you'll realize this is where Novalis has been heading for some time. They were never the most complex and densest of writers, and most of their compositions were rather straightforward. But they had a tendency to drench it heavily in dressing, giving it more of a superficial progressive rock feel. Where Novalis shines is their ability to write beautiful melodies, along with very pleasant instrumentals. So it was only logical the group would eventually trim the tree so to speak, and get down to their core competencies. I'd even argue this is stronger than their last recognized progressive rock album Brandung. Of course, Novalis are now on the slippery slope to commercialism, and have started to become more irrelevant to the average progressive rock fan. But this one is a nice transitional album. Better than most that tried during this era.

Former ownership: 1978 Brain (LP). Acquired in 1990. Downsized in 2019.

1990; 12/11/16 (review)

Other albums I own: Brandung

Other albums once owned: Konzerte

12/11/16 (new entry)

2026 Revisits of prior UMR entries Vol. 3

Recently I've been adding new entries to the old CD Reissue Wishlist. I'm finally checking out albums that I've been compiling on lists for the last 10 years. Check it out!

And while I'm carnival barking, be sure to also check out my 45 reviews site. Many new entries!

Roberto Colombo - Botte Da Orbi

Bulbous Creation - You Won't Remember Dying

Opus 5 - Serieux Ou Pas

Triangle (1970 France)

Nova - Wings of Love

Ibis (1974 Sweden)

Round House - 'Scuse Me

Porcelain Moon - ...As It Were, Here and There

La Bocca della Verita - Avenoth

Drama (1995 France)

2026 X-Wave Journal Vol. 1

*Love Spirals Downwards - Idylls. 1992 Projekt (CD). Purchased this way back in 1994. About four years ago I wrote about a band called Heavenly Bodies, a group I'd never heard before, but found themselves under the genre of "Ethereal Wave", a genre I'd never heard of before. At the time, I didn't realize I owned anything in that genre, though I did refer to Dead Can Dance which does intersect at times. I own plenty by DCD. I had completely forgotten about Love Spirals Downwards. There was a brief time around 1993 to 1995 that I was branching out into all sorts of directions. I was a bit groundless in my personal life (though professionally I was doing well) and lived in three different metro areas (DFW, Colorado Springs, and Denver). These experiences typically leads to exploring other avenues you would not necessarily drive down otherwise. Getting out of one's comfort zone is what we'd call it today. Today I hear Idylls with fond remembrance, and also it serves as a reminder that it wouldn't be such a bad idea to add a couple of more titles in this genre to the collection. The angelic female vocals against the electronics and guitars, creates such lovely soundscapes. I often refer to the 90s as the great decade, as it was the trajectory launch for me personally. So I tend to be more subjectively positive about albums like this. It was a point and time and Idylls brings back that era for me. Beautiful music really. If I find any of their other albums in the wilds, I'll be sure to build out a page for them. (4/30)

*A Flock of Seagulls - Listen. 1983 Jive (LP). I've owned this album since it was first released, and was one of the earliest New Wave albums for me to purchase. It has a haunting atmosphere that I find appealing, and the melodies have stickiness. They were much better than their reputation suggests, that of a vapid hairdo group. Their look, and their timing on the worldwide stage, gives the wrong impression. While they certainly weren't Berklee graduates, they did offer a lot of great ideas in their early years. To me they are one of the more representative groups of the English synth pop movement of the early 80s. (3/16)

Group 87 - A Career In Dada Processing. 1984 Capitol (LP). I had heard this album prior, many years ago, and appended a very low grade to it. As the first couple of tunes blow by, I can understand my initial disgust. Primarily the slick-as-a-butter-dish production, 80s drum machines, synthesizer tones, and overall gloss. Next to the definition of what mid 80s music sounds like, sits a picture of this album. 'Pleasure in Progress' borrows its primary melody heavily from Alan Parsons' 'Eye in the Sky'. Some of the electronic music isn't really all that far away from what Tangerine Dream were doing back then. Mark Isham provides his trademark atmospheric trumpet to the proceedings. Maynard Ferguson, he is not. Music like this really hasn't aged well, and one wonders if there will ever be a renaissance for it? I'm sure there will be. Primitive electronics is very popular now, and this is the opposite of that. From a technology perspective they were embracing the latest available to them. It all sounds so quaint today. Not really for me, but much better than I remembered. (1/16)

2026 Funk / Soul Journal Vol. 1

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

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

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

Didier Lockwood / Surya ~ France

Live in Montreux (1980)

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

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

Source: 1981 Pausa (LP)

4/28/26 (review)
 

Surya (1979)

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

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

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

2003; 1/20/22 (review)

1/20/22 (new entry)

Jean-Luc Ponty ~ France ~ USA

Imaginary Voyage (1976)

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

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

Source: 1990 Atlantic (CD)

1/3/20; 4/27/26 (review)
 

Aurora (1976)

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

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

See Cosmic Messenger for Ownership details.

12/22/25 (review)

 

Cosmic Messenger (1978)

---8/2/21

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

---12/16/25

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

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

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

Individual Choice (1983)

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

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

1993; 4/18/23 (review)

Also own: Enigmatic Ocean

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

4/18/23 (new entry)

Heldon / Richard Pinhas ~ France

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

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

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

Ownership: 

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

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

1992; 2006; 4/27/26 (review)
 

Stand By (1979)

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

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

Ownership:

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

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

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

Agneta Nilsson (1976)

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

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

Ownership: 

1976 Urus (LP). Acquired in 1986.

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

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

Rhizosphere (1977)

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

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

Ownership: 

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

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

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

Single Collection (1972-1980 / 2006)

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

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

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

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

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

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

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

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

5/18/21 (review)

Iceland (1979)

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

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

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

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

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

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

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

Chronolyse (1978)

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

Ownership: 

1978 Cobra (LP). Acquired in 1991.

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

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

L'Ethique (1982)

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

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

Ownership: 

1982 Pulse (LP). Acquired in 1986.

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

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

Allez-Teia (1975)

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

Ownership: 

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

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

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

Electronique Guerilla (1974)

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

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

Ownership: 

1975 Urus (LP). Acquired in 1987.

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

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

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

2/10/10 (new entry)

Blood Of The Sun ~ USA ~ Fort Worth, Texas

Blood of the Sun (2004)

---Nov 2004

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

---4/27/26

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

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

Ownership: 

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

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

11//04 (review); 4/27/26 (update)
 

Burning on the Wings of Desire (2012)

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

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

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

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

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

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

Also own: In Blood We Rock; Death Ride

7/14/18 (new entry)

Drum Circus ~ Switzerland

Magic Theatre (1972 / 2003)

---Nov 2004

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

---4/27/26

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

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

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

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

2026 Fusion / Jazz Journal Vol. 3

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

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

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

2026 Psychedelic / Garage Journal Vol. 1

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

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

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