Saxon ~ England

Saxon (1979)

If you look at the listen dates, you'd think I haven't heard this album since I was in high school. I know that's not right, but have I heard it since the late 90s? Nope, probably not.

Saxon's debut was one of the first metal import albums for me to purchase. European imports were very expensive back then, at least for a pauper like me whose sole income at the time came from a summer job working in an industrial warehouse (in Dallas no less - unbearable heat). At minimum wage which was bupkis in 1982. So every dollar spent had to count. I was looking for heavier, faster, and meaner metal on each purchase. And with that cover of a blood soaked sword, I figured I was in safe territory.

Uh, no. What a strange album Saxon's opening move is. Like I say about Manilla Road's early works, this is Saxon before they were Saxon, if that makes sense. With the opening two tracks titled 'Rainbow Theme' and 'Frozen Rainbow', you'd think they were some kind of psychy prog band. And it's not really that far from the truth. It's not until A3 that you hear the first riffs, though definitely more hard rock than anything metal. 'Judgement Day' is another song that has psychedelic overtones, and is my pick for best track, unrepresentative as it may be. 'Stallions of the Highway' is the first sign of the blueprint Saxon were to follow on their next three albums. Mid-paced biker metal with solid riffing and good solos. B4 is another example of this.

This is a very special album to me for the time and place aspect, and the history as noted above. But for musical content, it's borderline passable. I wouldn't give it much credence had I discovered this album for the first time today.

Ownership: 1979 Carrere France (LP). Acquired in 1982.

1982; 5/25/26 (review)  

Unleash the Beast (1997)

I was an early adopter to Saxon, having bought their quirky debut album, followed by Wheels of Steel, Strong Arm of the Law, and Denim and Leather. And that was it for me. Didn't even follow the band out of high school. It was only within the last seven years that I completed their early 80s classic run with a purchase of Power & The Glory (LP). What they did after that, I really don't know. I've certainly read a lot. It's apparent that Saxon made a go at "capturing" the US market, to no avail (as to be expected). And at some point in the mid 90s, got back on their (iron) horse and went about making music in their former early 80s NWOBHM style, but updated to modern heavy standards.

From my perspective, one of the issues that plagues Saxon is their image and moniker. If one didn't know better (and I didn't at first either), you'd think Saxon to be a band similar to Manilla Road, capturing the ethos of Medieval times, and creating mysterious semi-progressive heavy metal. Nope. Saxon are a biker band, through and through. A creative one, yes, but they're very much in your face metal. 

If Unleash the Beast (1997) is an example of what I can expect to hear going forward, then I'm in store for at least 11 more great albums! Band leader and lead singer Byff Byford is now 70 years old, and by all accounts, he hasn't lost a step. And right next him is his trusty aide and guitarist Paul Quinn, of which the same can be said. Right from the get of the title track, you'll know that Saxon are back from the grave, and packing heat! Every track here is classic NWOBHM music: Melodic, yet heavy riffing, with high quality guitar solos. Byford sounds like Byford, his distinctive higher pitched voice soaring peacefully (he's no screecher) over the racket underneath. Unleash the Beast is yet another pleasant surprise. Obviously I need to hang out more in the CD bins to see if I can find more of this! Interestingly enough, this is the only Saxon album I own - or have ever owned - on CD.

Ownership: 2007 SPV (CD). The hype sticker is hilarious: "Bonus Tracks, Unseen Photos, Liner Notes, Original Artwork, New Booklet!" OK, the last two are probably fair. Bonus tracks? Yes, there are two three minute live cuts. Liner notes? A very small paragraph written by Byford. Unseen photos? There's only one photo! lol. Acquired in 2021.

3/7/21 (review) 

Also own: Wheels of Steel; Strong Arm of the Law; Denim and Leather; Power & The Glory

3/7/21 (new entry)

Thule ~ Norway

Natt (1990)

If Natt isn't the album in my collection with the longest span since I last heard it, then it most certainly is in the running. Bought it not too long after release, and heard it a few times that year, filed away, and here it is for a relisten some 35 years later. To underscore this, I've since moved my entire collection seven times, back and forth between Colorado and Texas - and within each state as well. Have too much stuff, Genius Hans? Yea, methinks so too.

In any case my reaction real time, and today, is that Natt's opener is far more aggressive than the spacey Ultima Thule, as documented below. It's really hard to know what Thule were up to at this stage. Despite their progressive rock heritage, it appears the band were moving into other musical areas. The Hammond organ and electric guitar tones are reminiscent of the past but the compositions are more song based. It's been suggested they were playing a type of gothic rock, and I'm inclined to agree. The darkened atmosphere required for the latter is sorely missing here, and the tracks sort of plod along without purpose. For my tastes, B1 is the highlight.

I remember being very disappointed with their subsequent Frostbrent album, as they had largely abandoned prog rock altogether. Though I suspect it may have been more committed to goth, and perhaps in the end, it was the better album. I no longer own it, so that evaluation will have to be for another day. ProgArchives, for their part, rate Natt as their finest hour. I'll vote for the debut.

Thule were one of a handful of contemporary Scandinavian progressive rock bands on the Norwegian Colours label, one of the earliest of the prog specialty labels. Most known for breaking out Anglagard, Landberk, and Anekdoten - on vinyl at least - they also promoted more obscure bands such as Utopian Fields and The Smell of Incense. They were swimming upstream with their (mostly) LP-only stance at a time when everyone was switching to CDs. They were obviously too far ahead of their time, as they had the right idea for the future.

Ownership: 1990 Colours (LP). Gatefold with native lyrics on the inside. Also comes with a lyric booklet in multiple other languages. Acquired in 1991.

1991; 5/25/26 (review)
 

Ultima Thule (1987)

I bought this from Eurock not long after it was released, and to say it was anachronistic at the time, would have to considered an understatement. While certainly not as retro-prog conscious as Anglagard, Thule do seem to have fallen out of a 1970s time machine. Probably the same contraption that fellow northern Norwegians' Tangle Edge fell out of near the same time. The album is comprised of two side long compositions, that flow together as one long piece (and that supposedly tells a tale of colonizing a new continent - yea, yippee yayhoo). Without a doubt, mid 70s Pink Floyd and / or Ocean era Eloy seem to be the primary influence here, though sung in their native tongue complete with some dark narration bits. There are some 1980s references to be found though, such as the fat digital production with wide open drum beats, as well as an occasional period synthesizer sound. The album pretty much plods along at a slow to mid tempo pace throughout, and the focus falls squarely on the dark atmosphere provided. Thule probably should have experimented a bit more with complex rhythms and dynamics to allow for a more kinetic experience. While this was never what I would consider a great album - it's not one I would be willing to part with either and, in fact, it has aged quite well.

Ownership: 1987 private (LP). Acquired in 1988.

1988; 6/19/10 (review)

Once owned: Frostbrent

6/19/10 (new entry)

Sweet ~ England

Sweet VI (1980)

As late as the spring of 1980, age 15, I continued to be loyal to Sweet and purchased this album. I did enjoy Cut Above The Rest, an album I kept all these years and will review at some point. I do recall it being a bit problematic though from a consistency standpoint. Also, during this era, I was starting to go whole hog for heavy metal and some of the more energetic of the hard rock bands. And prog was right around the corner for me. Sweet was one of those hard rock bands, especially in the mid to late 70s, that I quite enjoyed.

All I can remember is that Sweet VI was a disappointment and I'm not sure it even made it to college with me some three plus years later. A friend here in town had a copy, and he owed me some trade, so let's hear it again and see if it's something I should keep this time.

I don't think Sweet knew how to fit into the 80s. They just couldn't let themselves go all-in for hard rock, and they really could have gone metal at this point, and likely would have met great success like the Scorpions did. It's humorous to note that Sweet's last album was called Identity Crisis, an album I've never heard. So back to VI, known as Waters Edge everywhere else (no idea why Capitol didn't keep that name). A1 is an example of a former bubblegum band trying really hard to be a... bubblegum band. By A3, Andy Scott was already tired of that and lays down some fat heavy guitar riffs. A4 sounds like Queen or ELO, depending on how you hear it. They now have a part time keyboardist, and one presumes this is his influence. And so it goes mixing their peculiar brand of AOR with hard charging guitar rock.

I can appreciate this album far more than when I was 15. That said, I still can't justify giving this shelf space as I continue to downsize the collection. Glad to have revisited it though.

Former ownership: 1980 Capitol (LP). Reacquired in 2026; First purchased in 1980.

1980; 5/21/26 (review)
 

Action / Medussa (1976)

'Action' is the same tune that opens Give Us a Wink and is a fantastic example of the superb hard rock goods that album brings.

But the real draw here is the American Capitol release that contains 'Medussa'. I hadn't heard this track prior and it's a must for Sweet fans - and hard rock fans in general. A well penned song, bordering prog combined with the traditional Sweet chorus sound. About halfway through Andy Scott starts to riff some chords. Not long after that an entire instrumental sequence lifts off. Scott goes wild on the guitar solo, while the rhythm section is going through some complex time changes. Very kinetic! I've never heard Sweet sound like this. And it has to be Scott's wildest solo on record.

I've just been informed this is 'Medusa' on the European versions of Desolation Boulevard. I've never heard that album, which is much different than the American version on Capitol.

Ownership: 1976 Capitol (SP). Acquired in 2025.

4/1/25 (review) 

Level Headed (1978)

Sweet were one of my early favorite groups. Level Headed was their new album at the time and 'Love is Like Oxygen' was the track getting regular airplay - a song I enjoyed immensely. We'll get to that soon. On the first day someone could shuttle me to the mall (I was only 13 at the time), I waltzed into the two record shops to purchase the album, only to find they were sold out. I decided to buy the album before it - Off the Record. I enjoyed that album (to be discussed another day), though I won't say I was blown away by it. I had one friend back then who was also into music like I was, and he did find Level Headed. Neither of us were overly impressed, and I decided to forgo buying my own copy. Not long after, I bought Desolation Boulevard (US version of course) and Give Us a Wink and those two solidified my early fan status.

Since I recently made the decision to pick up old commodity LPs from my youth (must be found in a store, and very inexpensive - or trade), I thought Level Headed would be an early score. As but one example, I walked into a local store and bought a stone mint Saga's Heads or Tales for $4 at the beginning of this adventure. But Level Headed had proved to be elusive. Again, I'm not going to mail order these things - that would have been too easy. Finally, after two years, I secured a copy - and it was properly discounted in the budget bin. Perfect.

So what of Level Headed, and where did my initial resistance come from? Right from the beginning, that's where. Even today, I find little to embrace about the opening three tracks. They're OK of course, but the melodies aren't striking, and gone is the hard rocking Sweet that I enjoyed. It's not until 'Fountain' that things begin to improve dramatically. Then comes 'Love is Like Oxygen', one of God's gifts to music. It's such a bizarre tune really - and how it became the "hit" off the album is even more puzzling. Starting off with power chords (finally!) Sweet sings in a high pitched but odd styled harmony. This is followed by some Brian Wilson like mellow interludes that raise the hair on your arm. The mid section then shows that Sweet may have had a fondness for Camel - as they totally go prog here. This leads back to the power chord section. And finally, the album closes with a cool funk bit (que?). What the heck did I just hear? None of it makes sense, but I think it's brilliant. No wonder I was drawn to this at a young age. Side 2 starts of in a Gryphon-goes-pop manner (which by that time was the sound of Gryphon anyway). There's a couple more middling tracks which leads to the other great track from the album, it too a side closer. 'Air on 'A' Tape Loop' is about as strange as 'Love is Like Oxygen'. This time it's a groovy instrumental with only harmony vocals on top - as if Deodato had walked in for a cameo.

Level Headed is not a great album by any means, but there's 13 minutes of brilliance and about 20 minutes overall of excellent material. That's plenty good for me.

Ownership: 1978 Capitol (LP). Gatefold with lyric inner. Acquired in 2021.

1978; 1/21/21 (review)

Ballroom Blitz / Restless (1974)

'Ballroom Blitz' is well known, and honestly is a great hard rocker. It was the track that drew me to Sweet in the first place when I was 12. Shoot, even my mom thought it a good track, and she hated most of what I listened to. In any case, the track is also on the US pressings of Desolation Boulevard.

The real allure here is the unreleased 'Restless' which is patented Sweet, and features some really inspired guitar soloing from Andy Scott. The 45 is as common as one raisin in a box of them, so well worth the pennies.

Ownership: 1974 Capitol (SP). Acquired in 2020.

Also own: Desolation Boulevard; Give Us a Wink; Off The Record; Cut Above The Rest

6/27/20 (new entry)

Osamu Kitajima ~ Japan

Dragon King (1981)

Picked this one up at an estate sale last week, and it's the first Kitajima album for me to hear outside of Benzaiten which is reviewed below.

A1 starts off with some disco strings and Japanese instruments. Closer to a novelty act than the seriousness of Benzaiten. The track improves though with some world fusion sounds. A2 is a highlight featuring some excellent Shakuhachi (Japanese flute). 

Then it's time to pay the bills lol. The next two tracks sound more like Peaches & Herb with Japanese traditional instruments sometimes used to supplement. There's the difference between 1976 and 1981 right there. No bueno. 

B1 is a return to form and, like A2, is a highlight mixing jazz fusion with Japanese culture. Then the poppy vocals reappear for the rest. I think what Kitajima was trying to achieve was a noble pursuit. However, the mix and match of styles is hokey at best. It's way too commercially oriented for fusion fans to take seriously. And it certainly wasn't going to find its way onto FM radio either. A failed experiment.

Source: 1981 Arista (LP)

5/21/26 (review)

Benzaiten (1976)

For the CDRWL I featured some extremely rare albums by Toshiaki Yokota (Primitive Community) and Rock Joint Biwa (Fulukotofumi). Kitajima's debut album fits squarely in the same mold. This is truly a world fusion - a melting pot of Western rock and Japanese indigenous music. Very few have pulled it off so well as Kitajima does here. Either they fall prey to new age sappiness, or worse, move towards amateurish exploitation. This is a serious work, and the type of rock influenced world music that still hasn't been explored much at all. I for one would like to hear more.

Ownership: 1976 Antilles (LP). Acquired in 1990.

1990; 2/23/11 (review)

5/21/26 (new entry)

Klaus Schulze (& related) (1980s and beyond) ~ Germany

Dreams (1986)

Though I was very much tempted to keep on buying new Klaus Schulze product, I did stop after Inter*Face in 1985. I felt I owned enough already and was exploring many other albums and styles in my later years of college. Dreams would have come along in that final year before I was unleashed into the workforce, and newly armed with paychecks to spend. But I was done accumulating Schulze albums then as well.

It's only in the last ten years that I picked up Dreams to see what I missed. On my initial listen, I enjoyed it enough to keep, but didn't get any words down. So let's do that now on my second go round.

As Schulze admits in the liner notes, this album is very much an orchestral effort. Much of his work during this era is as much classical as it is electronic, though the latter most certainly represents the instrumentation. He was also conscientious about listing all his gear around this time, stating it distracted from he wanted to accomplish with his "electronic orchestra". Much of the music here sounds very familiar. Too much so honestly. The title track, though, was a refreshing ambient break. The final lengthy piece does feature vocals, usually not a positive for electronic albums, and this is no exception.

Now the bonus track is worth noting. It was originally a promotional only CD single (released in a quantity of 300) to advertise the Andromeda analog synthesizer in 2003. It was, and still is, an incredibly rare piece changing hands for hundreds of dollars. That won't likely change, but not only do you get the full "song" (as Schulze calls it), but apparently the full version was 40 minutes long. So he added a few minutes for the bonus to fill up the CD. Though the synthesizer is unique, his demonstration of its abilities sounds similar to many other synthesizers he has in his possession. All the same, it's the highlight of the disc. Enough so for me to keep. To my ears, the Andromeda doesn't really sound all that analog. In reading about it, apparently it is state of the art and is now highly sought after. Today it goes for a small fortune.

Ownership: 2005 Revisited (CD). Tri-fold digipak. Booklet with a bio of Schulze and an article about Dreams. Also includes the bonus track as noted above. Acquired in 2016.

1/31/16; 5/20/26 (review)
 

Michael Shrieve with Kevin Shrieve and Klaus Schulze - Transfer Station Blue (1984)

---10/2004

‘Communique Approach Spiral’ is out-of-the-box early 80’s Schulze with all sorts of overlaid live percussion, with actual human hands, by Shrieve. Of course, this latter element gives it the life it craves for so desperately on those tired Schulze albums of the era. ‘Nucleotide’ is a five minute experimental ambience and electronic percussion work. The title track is similar to the opener, but a little faster, creating the image of a modern world caught up in fast transportation – perfect for the IMAX theater. Though they throw in a curveball smack dab in the middle of the song - an 80’s style funk groove ala Level 42 (it repeats near the end of the song as well). It’s hilarious in its incongruity. It’s the closer that separated this from the masses. ‘View From the Window’ is an aptly named piece, beautiful in its execution of electronics and rhythmic, yet melodic, cyclical guitar. A great way to end an album. I find it funny the back cover uses the 1977 stock photo of Schulze.

---4/11/25

Technically this is a Michael Shrieve album but it has Schulze's fingerprints all over it. Certainly Michael Shrieve has influence here, and it's a percussive driven album after all. But then again, Schulze was a pioneer in using drums and later drum machines in electronic music. The layered sequencers are all vintage Schulze. The title track illustrates this with Shrieve adding all sorts of acoustic percussion on top of the synths. And I like the Alan Parsons Project-styled funky guitar bit. Brother Kevin plays the guitar and electric piano, though his contributions are more subdued. However his most notable presence is the closer 'View From the Window', a beautiful pensive number that does make one want to look out the window on a bleak rainy day and reflect on one's life. I bought this album when it came out, having been a Schulze fan for about a full year. Has the optimistic feel of the early to middle 80s, when technology seemed like an endless dream. A dream that personified over the course of the decade.

I had forgotten about my 2004 review until I finished today's listen, so you can see I have some differing viewpoints from 20 years ago.

Ownership: 1984 Fortuna (LP). With insert. Reacquired in 2024. First purchased in 1984.

1984; 10//04 (review); 4/11/25 (review)

Audentity (1983)

Had some trade credit at a local store to use, and this one came in, so thought I'd check it out again. I say again, as I'm pretty sure I had this exact version in the middle 80s. It's only half the album, as the German pressing is a double. Musically it's precisely what Schulze was up to in 1983, and I was reminded of his live Polish recordings from the same year. His running buddies at the time were all involved: Rainier Bloss, Michael Shrieve, and Wolfgang Tiepold (cello). Nothing groundbreaking here but a great reminder of an optimistic time.

Ownership: 1983 Illuminated (LP). Reacquired in 2023. First purchased in 1985. 

1985; 10/24/23 (review)

Beyond Recall (1991) 

Klaus tells us this is his 23rd solo album. That would be not counting archival releases, otherwise it would be his 2,300th album. There's really nothing at all wrong with these past-his-prime Schulze releases, but they aren't particularly enlightening either. 77 minutes of Schulze at this stage is purely background music. There's a lot of what sounds like acoustic guitar here, but it's just more synths. I don't have any nostalgia towards this title, as it came along way past my initial discovery and enamoration (not a word, but it should be!) for the artist. My electronic collection grew out of control about 17 years ago, and it's time to trim some of that tree. And this is a low hanging branch.

Former ownership: 1991 Venture (CD). Acquired in 2011. Downsized in 2022.

3/31/11; 3/20/18; 3/18/22 (review)

Inter*Face (1985)

I bought this album right after it came out, while still in college (probably paid too much for the import). Ten years after that, needing shelf space, I sold it in one of my LP catalogs. And now 20 years later, I have the original CD in my possession for the first time. 

Anyway, the reason I sold the album is I had a boat load of Schulze already (if I only knew then how much he was about to release...), and this one seemed superfluous at the time. Perhaps it still is, I dunno. Sure, there's a bit of Klaus-on-auto-pilot going on here, and the tracks linger for longer than they need to, but doggone if this doesn't set the right mood. And the epic long track recalls Schulze's 70s sequencer works, more so than the proto-chill-out of the first side. Plenty of great (real) percussion adds to the vibe.

Ownership: 1985 Brain (CD). Acquired in 2016.

First copy: 1985 Brain (LP). Acquired in 1985.

1985; 12/4/16 (review)

Albums from this period that I own: Dig It; Dziekuje Poland; In Blue. 

Once owned: Drive Inn; Aphrica; Moonlake; The Dome Event

Plus dozens of others will likely flow through here eventually.

12/4/16 (new entry)

Guru Guru (& related) ~ Germany

Guru Guru (1973)

---June 2005

How do you describe this, Guru Guru's 4th album? When I first purchased the LP some 17 years ago, I was very disappointed. Side 1 of the album is pretty much drugged workouts of 50's medleys. Must've been the thing to do in Germany in those days, as Ash Ra Tempel also experimented with this bad idea on Seven Up. But Side 2 more than makes up for it, with two stoned journeys along the lines of Kanguru and Hinten. Some of the fuzz tones Genrich gets are incredible. This closed the chapter on the cosmic acid psych era for Guru Guru, and the reason the band is so highly revered today. 

---5/20/26

And that was my last listen. To be fair, in retrospect, I'm sure these underground Krautrock bands wanted to pay respect to the artists that they themselves enjoyed during their youth. I'm just not sure anyone else was all that interested. Guru Guru covering Eddie Cochran is not a promising proposition. And it certainly hasn't aged well.

As for Side 2, I'm going to dial down my enthusiasm a tad. They're both of the trippy spaced out variety. With some jazz influence and a bit of songcraft. Each of these tracks end with some great guitar from Genrich, leaving a stronger impression than maybe is due. His tone is not that dissimilar from Black Sabbath on 'The Story Of Life' towards the end of the song.

Overall I'm not convinced this is an indispensible album, though it's likely to stick around in the short term.

Ownership: 1973 Brain (LP). Gatefold. Green label with Metronome. Reacquired in 2000. First purchased in 1988.

1988; 1995; 2000; 6//05 (review); 5/20/26 (update)

 

Kanguru (1972)

---June 2005

Closest early era Guru Guru got to mixing song craft with their unique blitzed out acid psych sound. Comes off like a twisted 8th dimension Jimi Hendrix. Pretty hard not to call this a classic, though it would be just as easy to see how this could turn people off.

---12/22/25

For whatever reason, I'm not really all that familiar with Kanguru, Guru Guru's third effort, despite owning the LP for well over 30 years. I had dumped my Brain CD not too long ago, and later thought this title warranted owning in both formats. So this listen was appointed to the top because of the reacquisition of the latest CD, as the LP hasn't been chosen randomly in 20 years. I didn't realize I had any notes until a search came up with the above. Let's see how it goes this time.

For some reason I remember the opening to 'Immer Lustig', not so much the rest. The translated title certainly reflects Mani Neumeier's silliness on the back cover. I'm just as unfamiliar with the predecessor Hinten, and I feel like knowing that album better would help me frame my narrative for Kanguru. And the transition from UFO to here. Kanguru is without a doubt still off the rails in high intensity heavy cosmic acid psych. Which was becoming unusual at that time. Even Amon Duul II had settled by 1972, though groups like Ash Ra Tempel were still climbing that mountain. Having said that, there is a distinct move towards composition here, as loose as they may be. As the music goes off into space and grinds its way through various jams, suddenly a cohesive new rhythm would appear complete with an unheard melody. There's no indication when this may happen, it's completely random. This isn't progressive rock in the slightest, but it does have some similarities in the unpredictability. When reading my short notes from 20 years ago, I managed to distill fairly well what's happening here. I would think Kanguru would be an easier introduction to Guru Guru than UFO, unless you are already predisposed to the insane German psych underground like I was (and documented below).

Ownership: 

1972 Brain (LP). Gatefold. Green Brain Metronome. Acquired in 1992.

2025 Made in Germany (CD). Digisleeve. Booklet with historical liner notes (same notes as the 2009 Revisited reissue). Acquired in 2025.

1992; 1996; 6//05 (notes); 12/22/25 (review)

Dance of the Flames (1974)

This is the odd album out in the Guru Guru canon. Former Eiliff guitarist Houshang Nejadepour took over the reins from Ax Genrich, and it's obvious he took over the musical direction of Guru Guru at this point too. And they needed it, after releasing the halfway stupid (and halfway great) self-titled 4th, and the ridiculous Don't Call Us We Call You albums. Heavily influenced by the McLaughlin / Santana opus Love Devotion and Surrender, Nejadepour gives us an intense guitar centric blast of emotional instrumental rock. Neumeier gets a rare chance to shows his formative jazz percussion chops while special mention should go to jazz bassist Hans Hartmann (AR & Machines, ID Company) who turns in a monster performance. Still, you can just hear Mani in the studio "oh please, please, let me do one goofy thing, pleeeassssssse." And so he gets his fun on the first track with a Donald Duck impersonation and bad vocals throughout (though the music is excellent). "Very nice Mani... now go back to your drum kit and shut up". 'The Girl From Hirschhorn' is a truly remarkable track, an extremely intense emotional and melodic workout, and the song that states this album was going to be a great departure from whatever came before it. 'The Day of Timestop', and 'God's Endless Love for Men' could have been lifted from Mahavishnu Orchestra's "The Inner Mounting Flame" sessions. 'Rallulli' sounds more like acoustic Embryo than Guru Guru.

After one album of spiritual enlightenment, Mani obviously wanted no part of that, and the group went back to being the goofball vehicle it had become, and never again was Guru Guru to release anything of that much interest IMO. Houshang was gone. Neumeier himself, however, did immerse in interesting projects, even today with the UFO styled Neumeier – Genrich - Schmidt and Gurumaniax projects. But Guru Guru as a band never again reached the heights of Dance of the Flames. Whatever happened to Nejadepour? What a talent!

Ownership:

1974 Atlantic Germany (LP). Reacquired in 2013. First purchased in 1989.

2006 Revisited / SPV (CD). Tri-fold digi-pak. The liner notes include a full history of Guru Guru and a separate one for the album itself. Nice photos and an excellent 7+ minute live track round it out. It does sound to my ears that this was mastered from vinyl however. Acquired in 2006.

1989; 1997; 9//06 (review); 8/6/15 (update)

 

Gurumaniax - Psy Valley Hill (2010)

Presumably, the members of Gurumaniax need no introduction, nor does its core group Guru Guru, so off to my notes we go.

Almost everyone I know that is aged 70 tends to be a doddering Grandfather, or someone who fiddles in the yard / garden to pass the day. Some are more active of course - maybe they travel extensively, run a restaurant, or they still immerse themselves in day-to-day corporate business. But absolutely no one I know at age 70 has recorded a KRAUTROCK ACID FREAKOUT album, as has Mr. Neumeier, who was already 30 when the monumental UFO was released in 1970. Joining Mani is the youngster guitarist Ax Genrich who was only 25 when UFO was launched. And Belgian bassist Guy Segers (Univers Zero) fills in ably for Uli Trepte (RIP) - himself no spring chicken. The music squarely fits into the exploratory Ohr years of Guru Guru, with heavy psychedelic jams offset by spacey parts. What an inspiration to see these guys still possess the spirit of their youth. I just hope I still have the excitement of listening to this stuff at 70! Gurumaniax's music make kids in their 20s put on the oxygen masks. I love it.

Ownership: 2010 Bureau B (CD). Acquired in 2013.

4/10/13 (review)

 

UFO (1970)

I knew it was the best album in the stack. It was only a matter of time to when I could get home and hear it. Home to the United States that is. It was London, May of 1987, and I had picked up a pile of records from the Virgin Megastore, plus many others from our swing through Continental Europe. But I knew UFO was going to be the big winner. It was the Pop Import release of course, but even those were extinct in the record stores back home in Dallas. The day-glo gatefold cover of an orange flying saucer against the textured yellow background. The Ohr/ear symbol at the top (perfectly simulated with the new Captain Trip Japanese mini-LP release - right down the exact slickness of the cover). The giant ear on Uli Trepte's profile. Even the birthdates were telling. 1940, 1941 and 1945. To say, at the time of recording, roughly 25, 29 and 30 years old - pointing to the value of experience over youthful naivete. The track names 'Stone In', 'Girl Call', 'Next Time See You at the Dalai Lhama', 'UFO', and 'Der LSD-Marsch'. The liner notes in English: Soon the UFOs will land and mankind will meet much stronger brains and habits. Lets get ready for that. - P. Hinten. There were German notes as well, and they looked cool too. It had to be everything I imagined an unhinged German psychedelic record to be. I had read about it, and now I had it my hands. I could barely wait to fly home. Jet-lag be damned, it was on the home stereo the moment I walked in the door. It was an experience I would never forget.

Blam, blam goes Ax Genrich's massive fuzz guitar. BASH goes Mani Neumeier's gong / cymbals / percussion. Uli Trepte adds a bass line, and we're already in MID JAM form 15 seconds into the recording! And it gets only more intense from there. Brain frying acid guitar as the pace picks up and moaning wordless chants cascade over the mayhem. This isn't a mindless jam ala the Acid Mother's Temple. Everything is coherent, with a purpose, the work of three experienced jazz trained road warriors. They were already masters of their trade, but applied to a new kind of instrumental psychedelic free rock. 'Stone In' is 5:42 of perfection. Maybe the greatest opening sequence in psychedelic history. 'Girl Call' follows and is no less powerful, allowing us a viewpoint in what might have been the first minute of 'Stone In', before launching into another insane jam. The transition from the heightened tensions of 'Girl Call' to the fast paced Eastern oriented jam of 'Next Time See You at the Dalai Lhama' still sends shivers down my spine. By the end of Side 1, I can say with some conviction: It is perfect.

We theoretically flip the record over and visit the lengthy title track. Here Guru Guru shows their abstract side. An exercise in psychedelic decomposition. Rhythmnless. Intense to the point of painful. Out of the abyss rises 'Der LSD-Marsch', and the acid guitar trio is back in form, igniting your stereo in flames. If it went another hour, it would only be better. I can think of less than 10 albums I'd say that about.

21 years after that first encounter, I hear UFO better than ever. A true all-time classic that has transcended time.

Ownership:

1970 Ohr (LP). Gatefold. Original 56 version. Acquired in 2000.

2008 Captain Trip (CD). Gatefold papersleeve. Acquired in 2008.

First copy: 1981 Ohr / Pop Import (LP). Gatefold. Acquired in 1987.

5/17/87; 1996; 8/20/08 (review); 12/4/21 (update)

Also own: Hinten; Hot on Spot / Inbetween; Psychedelic Monsterjam; The Intergalactic Travel Agency

I've owned many other titles in the past, some I need to revisit, others I know can be left at the door.

6/8/09 (new entry)

Tamalone ~ Netherlands

New Acres (1979)

I'm not certain I've heard this album since purchasing (or trading) for it over 30 years ago. My recollection is that Tamalone was heavily influenced by Jethro Tull. Let's see what this listen brings.

Well, yea, it's really obvious that Jethro Tull is front and center here. The vocals have the same intonation and tone. The basis of each song is of a woodsy folk rock nature, and gets a bit wordy at times. There's plenty of electric guitar riffing and soloing, which is arguably the highlight of the album. Flute is not near as prominent as with Tull, though it is present, and that leaves more room for the guitar to jam out. Organ also plays a major role in their sound. The compositions are original, well thought out, and I would disagree with those that state it's a clone of Jethro Tull, which implies the band is copying note for note certain passages. Considering that Tull was hardly in Thick as a Brick mode by 1979, I'm sure Tamalone figured they would fill that void for local audiences. I'm down with that.

Ownership: 1979 Crossroad (LP). With two page lyric insert. Acquired in 1995.

No reissues exist as of 5/20/26. Discogs' biography for Tamalone refers to multiple other tapes and albums through 2016, yet mysteriously none are actually listed on the site. Guessing they were never released in physical form.

1995; 5/20/26 (review / new entry)

Rainbow ~ England

Ritchie Blackmore's Rainbow (1975)  

This is the second time for me to run into this album since 2019. Each listen is a little bit more enjoyable, but mostly it always falls short of my expectations. Perhaps because of my personal experience with the band, I find that I enjoy Down to Earth and subsequent albums more satisfying. The exception to this - like just about every one else - is that I think Rising is their masterpiece. And it's much more aggressive and chance taking than this rather tepid debut. As some clever folks have noted, the band should have been called Ritchie Blackmore's Elf at this stage. It all came together in one short year. Once again I cannot find a reason to hang onto this, despite a few good - though not exceptional - tracks.

Ownership: Polydor (MC). Acquired in 2026. Will likely pick up the CD to close out this title.

First copy: 1975 Polydor (LP). Had a few of these over the years. I always take the profit haha.

8/2/19; 10/21/22 (review)

Bent Out of Shape (1983)

Since I stopped at Straight Between the Eyes, I never did hear this final (for all intents and purposes) Rainbow album - until now. It's a nice return to form, showing off a more meaty hard rock muscle than prior - closer to Difficult to Cure in that manner. It would not have been enough for me in 1983, but I now appreciate this style considerably more. 

Ownership: Polydor (CD). Acquired in 2026.

First copy: 1983 Mercury (LP). Acquired in 2022.

4/5/22 (review)

Straight Between the Eyes (1982)

This is where I initially got off the Rainbow bus. I had stayed loyal, but as each year progressed in the early 80s, I wanted heavier and heavier music. And there were bands to fill that desire. Rainbow were going the other way. This is probably the most commercial of the four post-Dio albums. I'll keep it anyway. 

Ownership: 1982 Mercury (LP). Reacquired in 2022. First purchased in 1982.

1982; 4/22/22 (review)

Down to Earth (1979)

In an earlier post, I had mentioned that I bought this along with Judas Priest's Rocka Rolla. It was real time in Seattle while visiting my aunt and uncle. I enjoyed it at the time, but I was hoping for something heavier and less poppy. Over the years, it didn't survive some of the LP purging, which was necessary. Now I'm just scooping these up out of nostalgia. I actually remembered this album pretty well, though it's been 30 years since I last heard it. Down to Earth features Graham Bonnet, and he does possess quite the voice. Last year I revisited Difficult to Cure with great results, and I'll give the nod to that album over this, since it's less commercial. But for memories alone, I'll probably keep this one for a long while. 

Ownership: 1979 Polydor (LP). Reacquired in 2022. First purchased in 1979.

1979; 4/19/22 (review)

Difficult to Cure (1981) 

I've been hoping to find any of these early 80s Rainbow albums, and I finally got one with this latest haul. I had originally bought this album real time. According to RYM, it was released in February, which would have been the second semester of my sophomore year of high school. That rings true. By this point I had already owned Down To Earth (also purchased when it came out) and Rainbow Rising. Over time, the former didn't make much of a mark (long sold off), but the latter remains one of my all-time favorite hard rock albums - a brilliant work. When trying to recall my mindset of the era, I'm pretty sure I enjoyed Difficult to Cure on initial impact, and it would have been sandwiched between the other two in quality. For whatever reason, my interest in traditional hard rock soured throughout the 80s, as my heart and mind were more dedicated to the current metal movement, as well as my first forays into deep diving European prog rock. So Difficult to Cure didn't make the cut either. Hearing this again for the first time in probably 35 years, my perspective towards hard rock has long been altered to the positive. There are two cover songs here, and they are Rainbow's half-hearted attempts for radio airplay. The rest, all originals, is just killer hard rock, and out of time for the 80s. This is mid to late 70s hard rock all the way. Side two in particular is fantastic. And even the Beethoven Ninth cover, usually a trite groan-worthy exercise, has a superb instrumental mid-section written by the band. All-in-all, Difficult to Cure ended up being a +3 listen. It will be a long time before this one goes again. If ever.

Ownership: 1981 Polydor (LP). Reacquired in 2021. First purchased in 1981.

1981; 5/1/21 (review)

Also own: Rising

Once owned: Long Live Rock 'N' Roll

5/19/26 (new entry)

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)