ORS (Orlando Riva Sound) ~ Germany

Body to Body Boogie (1978)

---10/30/13

Despite what it may appear if reviewing my collection, I'm not one to find the disco genre inherently insipid. Actually, a good disco album requires quite a bit of effort. Today, an album such as this could be made by one person with modern technology. Body to Body Boogie features no less than 17 musicians and singers. Plenty of great keyboards (including two well known underground names* on Moog), a five piece horn section, five vocalists, strings, electric guitar, bass, and drums. So there are plenty of great sounds here created by the Moog, as well as tight horn charts, and intriguing (often wordless) vocals. The problem with disco, of course, is what makes it disco: The limitations of the fat 4/4 dance beat. You take that beat element out of this recording, and you'd have a very interesting French styled avant garde electronique album that was popular in Paris during the late 70s.

* - Krautrock veterans Kristian Schultze (Passport, The Bridge) and Stefan Zauner (Amon Duul II) are listed on Moog (not keyboards, but Moog alone). Perhaps it was a "paycheck" album, but their playing here is of a high quality. Plus they wrote or co-wrote most of the material.

Personally, I also find the album cover highly appealing (Salsoul edition that is). Overall, a keeper I think. You just never know what you might find in a neighbor's collection ;-)

---10/25/26

And that's exactly how I obtained this - a neighbor gave me his record collection. Mostly junk, but this gem was among the better titles. I've already documented Silver Convention and Tender Aggression, two other German disco gems that featured underground Krautrock artists from the early 70s. For me, though, this was first up in the order (at least from a full album perspective). I think Dieter Reith wins the prize, but ORS is damn good fun.

Not quite sure why Discogs separated the German release from the Salsoul version. Best I can tell is that it contains one extra track (and different artwork), not that it's a completely separate recording. 

Ownership: 1979 Salsoul (LP). Acquired in 2013.

10/30/13 (review); 10/25/26 (update / new entry)

Minimum Vital (& related) ~ France

Sarabandes (1990)

I consider Sarabandes one of the most important CDs in my collection, and yet I've never written one word about it. And it doesn't look like I've heard it since 2004 at the very least. But I did listen to it a lot in the 90s, and while hearing it this afternoon for the first time in probably 30 years, I seemed to know every note.

While I may not have covered Sarabandes directly, I reference the album quite a bit. For a couple of reasons. One is that I consider it, along with Tiemko's Ocean, one of the albums that convinced me that being an "LP only" guy wasn't going to work if I wanted to stay contemporary. And like Ocean, Sarabandes remains without an LP release to this day. I tell more of this story on the Tiemko page.

The second reason I refer to Sarabandes is I feel that Minimum Vital, on this album especially, helped usher in the 90s style of European instrumental prog rock. Now, to be clear, they most certainly are influenced by the western reaches of France. This is apparent in the Medieval folk melodies they first brought forward on Les Saisons Marines. Where we get the 90s reference, or perhaps early 90s, is the production and tones are much more powerful than the "boxy 80s" sound I refer to below. And Jean-Luc Paysson, in particular, is lighting it up on the guitar as never before. It's a wonderful combination of all the above that makes the album special, memorable, and honestly at this point, iconic. The latter is probably on the Genius Hans scale of what's important versus the general population.

A timeless album.

Ownership: 1990 Musea (CD). Acquired in 1990.

1990; 10/25/26 (review)
 

Les Saisons Marines (1988)

This was to be the first Minimum Vital album for me to acquire (on vinyl originally), beginning a long relationship with the band. It appears I didn't listen to it with Envol Triangles in 2005, so we'll start from scratch for this title.

From the opening two tracks we obtain our storyline for Minimum Vital's second effort: The Medieval melodies make their initial appearance, the production is still boxy mid 80s, plenty of slap bass, sparse vocals have been added, and Jean Luc Paysson's guitar is way more out front and amped up. Most importantly, the melodic quotient remains high. And I would submit they've improved on the flow, indicating where they would land on their next opus Sarabandes. 'Zappata!' is a brilliant track, and a great way to immerse yourself into the early sound of Minimum Vital.

Ownership: 1992 Musea (CD). Coupled with Envol Triangles minus 'La Scala' (4:35). Booklet with recording details. Acquired in 1995.

First copy: 1988 Musea (LP). Acquired in 1989.

1989; 1995; 8/17/13; 9/29/25 (review)

Envol Triangles (1986)

---Jun 2005

One of the many exciting bands to have emerged in the mid to late 80's with a cassette only release. Suffers a bit from 80's digitalitis. But the full time flute player makes up for it. Too bad they couldn’t hold on to her for future albums. The bass player's style is also a product of the 80's, with too much slapping for my tastes. In some passages, I hear the 80's California based fusion group Drama. Very much a proto-Minimum Vital album.

---9/29/25

That was 20 years ago, and it looks like I had one more solid listen in between. Without a doubt this is prog music for the mid 80s. But despite the boxiness, Minimum Vital has a special way with melodies. The flow of the album can only be described as pleasant. They had yet to embrace the Medieval era, so it's a bit more generic in a jazz fusion sort of way. It develops like a prog album though, and flashy solos are nowhere to be found. The comparison to Drama is apt. As noted in the original review, flute would have been the perfect complement for the group as they progressed through the years. Adding a half star.

Ownership: 1992 Musea (CD). Coupled with Les Saisons Marines. Booklet with recording details. Acquired in 1995.

1995; 6//05 (review); 8/17/13; 9/29/25 (update)

 

Vital Duo - Ex Tempore (2001)

Minimum Vital were (and remain so to this day) one of the key elements of the French progressive rock renaissance that first occurred in the mid 1980s. They blended instrumental fusion, hard rocking guitars, and Medieval themes to create something wholly unique. After five successful albums and countless niche festivals, the engine of the group - the Paysson brothers - decided to cut some trimming and go right to the core unit. Vital Duo was born. A short lived project, Vital Duo managed this one album before going back to their main brand of Minimum Vital.

It doesn't take long to figure out that Vital Duo is the work of the Paysson's. Their distinctive patented sound is all over this, and it makes one wonder what the other band members were contributing in the first place. At the beginning it seems a bit superfluous, but by the time of 'Chanson de Trouvère' you'll find yourself emerged deep within their vision and sound. Jean-Luc provides most of the stringed instruments including some fiery electric guitar, whereas Thierry brings the keyboards. Both sing as they did on their early albums and Jean-Luc covers the drums and percussion. Of those keyboards, the most fascinating and distinctive is the Digital Church Organ, which is the most prominent keyboard here. It plays right into their Medieval concept.

If you're a fan of albums such as Sarabandes and Les Saisons Marines, then Ex Tempore is an easy recommendation.

Ownership: 2001 Musea (CD). Nice booklet. Acquired in 2005.

5//05; 7/18/19 (review)

La Source (Huit Chants de Lumiere) (1993)

Minimum Vital were, and still are, a highly original progressive rock group coming out of France. The basic formula is take a medieval or traditional French folk melody and add jazz plus rock influences over the top. Digital keys, programmed primarily to the brass sounds, along with ferocious guitar soloing, are the trademarks of Minimum Vital's sound.

By the time of La Source, Minimum Vital had begun to incorporate some pop influences as well, with female vocals out front, and the final result may be a surprise to hardcore fans - but it's a winning formula both musically and commercially.

Ownership: 1993 Musea (CD). Acquired in 1993.

1993; 3/8/10 (review); 10/10/26

Also own: Capitaines; Pavanes

Previously owned: Esprit d'Amor; Atlas

3/8/10 (new entry)

Panna Fredda ~ Italy

Uno (1971)

---2/23/07

A great hard edged progressive rock album, predating Biglietto Per L'Inferno, Capitolo 6, Cervello, and a host of others. Groundbreaking for 1971 Italy and a blueprint for what was to come.

---10/25/26

One of those albums where I asked myself "Didn't I already review this for UMR?". Apparently not. And I should have more to say than those scratch off notes from almost 20 years ago. That was written right after receiving the BTF CD that I contributed to.

Though maybe not much more to say, really. Panna Fredda could be considered a pioneer of the Italian prog rock sound, coming a full year before the boom was to arrive. At this point, the music coming out of the Boot was more entrenched in hard rock. Or even the heavy psych movement of the late 60s. We hear this from bands as diverse as Le Orme, Formula 3, Il Balletto di Bronzo, New Trolls, and Il Rovescio della Medaglia. One could hear the creativity being applied at a rapid rate, and for my lire, Panna Fredda were ahead of all of them at this early stage. It's really a pity the group didn't continue into the heyday of 1972 and '73. As they for certain would have released a Top 10 prog rock album of all-time. They broke up for the usual reasons, lack of label support, army conscription duty, and other blockers.

The CD adds six bonus tracks. Four of them come from two of their three and a half singles (all from 1970), whereas tracks 9 and 10 seems to have no provenance. Similarly the B side of their second single is missing here (the A side is from the LP). They also contributed one track to a 45 with I Pooh offering the other, which is also not included. Like many Italian prog bands, their roots were in the beat movement, which was much more commercially oriented. As such, they make great bonus cuts rather than necessary additions to the collection. There's still some fine harder edged guitar to enjoy.

Ownership:
1971 Vedette (LP). Gatefold. Acquired in 1999.

2007 BTF (CD). Papersleeve gatefold. Booklet with band photo and historical essay in Italian (English version provided by... me). Acquired in 2007.

First copy: 1989 Vinyl Magic (CD). Acquired in 1989.

1989; 9/27/99; 2/23/07; 10/25/26 (update / new entry)

Ohr Musik ~ England

Friction Burns (1999)

---2003

The opening track sounds like a cross between Tangerine Dream's Atem and My Solid Ground's 'Dirty Yellow Mist' (which also represented their opening move). Organ, mellotron, pounding drums, and those heavy guitar chords! Amazing!! What separates Ohr Musik from most of the neo Krautrock / space rock bands is the heavy use of analog keyboards + a good number of musicians involved. In theory this is a two man band with one credited to "engineering" but they are augmented by four other players (two guitars, bass, and drums). There are a couple of self-indulgent guitar tracks ala Ear Candy that are a bit tedious and one long three piece wah wah jam that could been cut by six minutes or so... but overall, a major surprise! 

Also, one clarification, the recording date is 1998. There's no release date on the CD anywhere, and mine didn't have the obi which usually secures the date. The catalog number is CTCD-191 (Captain Trip), which places it in the label's chronology as 1999.

---10/24/26

Time for a revisit and to enter into the UMR. It's somewhat surprising to me that this album hasn't taken off in a big way with the underground collecting set. You can still obtain this CD for cheap, and yet it represents everything that was great about the early 70s cosmic Krautrock scene on the Ohr, Brain, and Kosmische Kourier labels.

Ownership: 1999 Captain Trip (CD). Liner notes in Japanese. Acquired in 2003.

2003 (review); 2004; 10/24/26 (update) 

Ohr Musik (1997)

I first discovered Ohr Musik via their second album, the obscure CD Friction Burns, a brilliant retro Krautrock album, maybe the best of its kind. Their debut was part of the Prescription Drug series, albums that were limited to 99 copies, but mysteriously 100's have shown up on the market, many with the same number. But this was at the height of Sun Dial / Acme studios deception practices, including most infamously the Psi-Fi albums. I've covered that topic so many times, I feel like the bar drunk going on about 9/11 and COVID conspiracies... so I won't talk about it here again. See comments for details on who is behind the music. 

Ohr Musik has done a fantastic job of revisiting the early 70s Berlin vibe. In particular, I hear Harmonia's debut, and they capture that mystical early Cluster vibe (think Cluster II). This one doesn't rave up in the manner of Ash Ra Tempel or Guru Guru. This is for the chill out Krautrock crowd. Clearly the band is self-conscious of what they're doing (the moniker alone says that), and the opening words of the insert say: "Imagine, if you will, that it is 1973. In a Berlin basement, close by the shadow of the wall..." Yep - they pretty much nailed that atmosphere!

Ownership: 1997 Prescription (LP). Single sleeve with insert. Copy 79 (presumably). Acquired in 2004. My copy is different than the photos you see here from Discogs. The front has the same design but is yellow / green in color (different color than their back cover to the right which is lime green). The back is blank. And the label has a handwritten OM (in black marker - not red) instead of Ohr Musik. No one in Germany was sloppy like this in the early 70s. Quite the opposite. Oh well - the music holds up, so I'm keeping it. No reissues exist (theoretically). Because you know - they "destroyed the tapes right after". Sure they did.

9//04; 9/14/22 (review) 

9/14/22 (new entry)

Ezra Winston ~ Italy

Myth of the Chrysavides (1988)

---11/13/09

In the late 1980s, Ezra Winston pioneered the Italian progressive rock renaissance that we still enjoy today. It's not a typical Italian album though, with lyrics in English and the music possesses a distinct UK and Dutch neo progressive sound (Marillion, IQ, and the rest of them). Still, for us fans at the time, it gave us hope that our favorite style of music wasn't dead just yet in progressive rock's most inventive country. It wouldn't be long before other Italian progressive rock bands joined the parade (Nuova Era, Sithonia, Malibran, Tale Cue). Myth of the Chrysavides deserves its place in history.

---10/23/26

A very important album in my collection, it was truly exciting to receive such a work from a country that was long dormant in the progressive rock genre. And sure, it's not the classic Italian prog rock sound. Primarily due to the lack of using the native language. And it also lacks those crazy meter breaks the Italians are known for. In its place is a far more patient and strong melodic work. And while it borrows from the neo prog movement, the album certainly differentiates itself in the overall approach. They're playing the long game here, versus the more succinct and compact British and Dutch scenes.

Ownership: 1988 Ezra Works (LP). Comes with a lyric booklet in both Italian and English. Acquired in 1988.

Though released in the CD age, the album has strangely never been released in that format (legally, that is).

1988; 11/13/09 (review); 10/23/26 (update)

Also own: Ancient Afternoons

10/23/26 (new entry)

Collage ~ Poland

Baśnie (1991)

---3/9/10

In the much maligned genre of neo prog, Collage's Basnie is for me the single greatest achievement in the style. Compact, energetic, tight, melodic, intricate, and exceptionally well played. Even the Polish vocals seem to fit perfectly. They took what IQ started on The Wake and improved upon it. 

---10/22/26

And now we enter Collage into the UMR for the first time, as I revisit the title. Basnie is a special album for me for a number of reasons. Some personal, which I won't detail here. From a more objective perspective, I credit this work as to the reason why I embrace neo prog as a genre, even though there are so many lemons within. I absolutely loved the English scene of the early to mid 80s, and many of those albums are favorites of mine to this day. Then the protagonists all seemed to lose their way, embracing commercial oriented AOR / FM styles of music. One could hardly blame them for reaching for the stars, but I was young and impressionable and felt a certain kind of betrayal. That kind of music was everywhere, why did you all have to follow suit too? As I pleaded to no one in particular. Today I can even appreciate the type of music they all made a go of. 

When Basnie arrived at my doorstep, and into the changer, a light bulb went on. A 200 watt light bulb. It seemed everything that was great about 1982-1984 progressive rock was distilled into this one album. All sung in Polish no less. To my ears, Basnie is a completely flawless album. That energy combined with the melodicism is so infectious. One of the rare albums where I'd prefer to hear it with cheapy digital synthesizers rather than big ol' woody analog gear.

A time and place treasure if there ever was one. This one goes to the grave with me.

Ownership: 1991 Inter Sonus (CD). Acquired in 1992.

1992; 3/9/10 (review); 10/22/26 (update)

Previously owned: Moonshine; Safe. Need to hear both again.

10/22/26 (new entry)

Jean Michel Jarre ~ France

Chronologie (1993)

As you can see from the below, I've enjoyed a recent reunion with Jean Michel Jarre. While he earned accolades in the 1970s, Jarre's heyday most assuredly was the 80s, at least from an album standpoint. After Rendez-vous, his records weren't as ubiquitous as prior. That didn't deter Jarre at all and he continued to record for another three decades, and he's still active as he pushes 80.

I for one have not heard anything past 1986 from Jarre. This cassette popped up at a thrift shop for a buck, so I'm definitely game for trying it. At this point his music has taken on a cinematic approach similar to fellow global electronic star Vangelis. There's also a certain Nintendo approach to the music. While he probably wasn't influenced by video game soundtracks, Jarre eventually had become a showman first, musician second. And the music demonstrates that he has a grand production in mind while composing and performing. The music, as to be expected I suppose, is more beat heavy than his earlier works. I did like the guitar at the end of Part 3 (and also further on), an instrument not usually heard on a Jarre album.

I don't hear Chronologie as a repeat of anything he's released prior, so I consider that a plus. I think he's trying to innovate, though it gets harder as one goes. And he was still a very popular artist, especially live, so it's hard to have the same drive as prior. I have enough Jarre here as it is, so we'll let this title slide.

1993 Dreyfus (MC)

10/22/26 (review)
 

Zoolook (1984)

The elusive Jarre for my collection has finally arrived. While I continue to find multiple copies of everything around it, Zoolook was nowhere to be had. A highly experimental work from Jarre, here taking a decidedly non-commercial approach when he was at the height of his popularity. Heavy use of voice synthesizers that elevates Tangerine Dream's 'Kiew Mission' to its logical extreme. This is the type of album that one must immerse themselves in rather than sit back and let it impress you. Despite what it may read like, Zoolook was a big seller in its day and didn't derail his popularity one bit. Proving once again that if artists just follow their muse, the audience will go on the ride with them. But once you try to impress your audience, it is at that point you are lost. Good for Jarre that he stuck to his guns.

Ownership: 1984 Dreyfus (LP). Acquired in 2023.

10/28/23 (review) 

Rendez-vous (1986)

Last year, I went through a retrospective of Jarre's first four "classic" albums, and was pleasantly surprised that I enjoyed them all. I wrote previously: "I should mention that five years ago I picked up Rendez-vous on CD from a garage sale. It didn't leave much of a mark, and I sold it a couple of years later. I figure some time between Equinoxe and that album is where I will lose interest. But that didn't happen here with Les Chants Magnetique." So this week I found a nice minty copy of Rendez-vous on LP at a thrift shop. Has my opinion changed? A little bit, only in that I'm more favorable to Jarre to begin with (+1). By this point, he's too deep in the 80s and lacks some of the warmth and dynamism of his earlier work. I don't want to say he's going through the motions here, but ya know he could be going through the motions here. It's a nice record, but that's not going to cut it. 

1986 Polydor / Dreyfus (LP)

11/22/15; 8/5/21 (review)

Les Concerts en Chine (1982)

I'm not always in the mood to listen to electronic music, but especially double LPs can be daunting. Really depends on my energy level. If I'm too tired, I'll fall asleep. If I'm more energetic, then I want something more dynamic. But last night I was in that rare calm-but-lucid state. Almost six months after picking up the LP at a thrift shop, I'm ready to devour. For context, if you go back and read my thoughts on Jarre, it was this album that I first heard all the way back in 1983. And, as noted there, we were all getting into a dispute about who was better - Jarre or Tangerine Dream. As if there had to be a winner. Since I was a die-hard TD guy by then, Jarre had no chance. No way would have I understood the historical importance of this album - which is immense really. It wasn't long before these recordings (in 1981) that China was still a closed country. Even more so than the Soviet Union. This was all part of the exciting geopolitical backdrop of the 1980s. For the music, Jarre brings along some of his classic material, but also newer compositions geared towards the setting. The sound quality is awesome really, considering the challenges they faced. I've read some funny anecdotes about these concerts. In one case, everyone abruptly left while they (Jarre had a four piece group) were still playing. Why? They had to catch the busses and trains home, or they would be stranded. The things you don't think about. Anyway, this is for certain a must for Jarre fans. Otherwise, it's not going to sway one's opinion. Solid progressive electronic music.

Ownership: 1982 Dreyfus (2xLP). Gatefold. Acquired in 2021.

4/30/21 (review)

Magnetic Fields (1981)

To my surprise, I found Magnetic Fields much more innovative than his first two recognized works. In reviewing other's observations and ratings, it would appear I'm very much in the minority with that sentiment. But I really don't know why. One hypothesis that I can think of is that Jarre, on his first two albums, doesn't really remind me of any particular artist, though his sound is very much part of the French school - and there were many in existence when he showed up on the scene. I think with Magnetic Fields there really is a clear Tangerine Dream influence, in particular the recent arrival of Johann Schmoelling to that band. The sequencing here is innovative in the same way that Tangram is. Of course the last track is purposely ridiculous, and perhaps not the best way to end an album, which I think may have impacted more negative ratings than anything else. 

Ownership: 1981 Polydor (LP). Acquired in 2020.

12/27/20 (review) 

Oxygene (1976) 

This is Jean Michel Jarre's first album and apparently Part 4 was a big hit. I have no idea why, but it's a fine upbeat electronic track. I've told my story about Jarre on the Equinoxe post, so not much else to add. I have to be pretty objective with these albums, as they are definitely nothing new to my ears (but still very good). But that's just my personal experience and chronology. Had I never heard any analog electronic music prior to this, I'm sure to have been impressed. I've read this is the single biggest seller in the history of French music. Not sure if that's true, but if it is, then it's amazing it would be an album such as this! 

Ownership: Dreyfus (CD). 

12/23/20 (review)

Equinoxe (1978)

Some of you may recall my discussion about "fastest" guitarist when I wrote about Al Di Meola's Elegant Gypsy two plus years ago (well I'm sure you don't, but you can look it up on this blog...). In effect, it was about those tiresome music conversations we seemed compelled to do in college during the 80s. Well....same thing here with Jarre verse Tangerine Dream or Klaus Schulze (more the former as Schulze was still pretty obscure, at least where I went to school). And since I was a huge T. Dream and Schulze nut, I wasn't having any of this Jarre nonsense! Silly me. So, believe it or not, I haven't heard this album (intently)... until last night. The problem with hearing Equinoxe in 2020 versus 1983 is that I've already absorbed hundreds of analog synthesizer albums. So it's a bit old hat at this point. But is that a fair evaluation? Not at all. I can see why I scoffed at Jarre being the superior artist 35 years ago, given the music here doesn't have the depth that you'd hear on Rubycon or Timewind - or even Tangram. But in his day, Jarre apparently ruled the stage and drew massive crowds. Equinoxe is not vapid crowd pleasing music, and is a strong electronic work, all things considered. So yes, definitely a keeper here.

Ownership: 1979 Dreyfus (LP). Acquired in 2020.

12/3/20 (review)

Also own: En Concert Houston

12/22/21 (new entry)

Ram ~ USA ~ New York

Where? (In Conclusion) (1972)

---6/23/09

For many years, since I first bought the LP in the early 90s, I've felt that Ram is one of America's more unheralded progressive rock albums. The first two tracks are straight ahead rockers, almost like Rare Earth or similar US street rock groups. But the last two tracks on Side 1, and especially the 21 minute side long suite 'Aza', show a remarkable progression.

'Aza' is fascinating, as it sounds like synthesizers, or even mellotron, are the dominant instruments. But on a careful listen, you can hear they are using saxes, flutes, and contact mics to emulate the synthesized sounds. The electric guitar and fuzz bass are blistering on this track. I find it hard to believe a creative band like Ram doesn't have other similar sounding tracks sitting in a vault somewhere. Can you imagine a CD reissue with one or two extra epics like 'Aza'? For me, that could raise Ram to the very best the US ever put out, especially from the early 1970s.

In researching the group on the internet, there's very little info. Apparently they're from New York (that may not be the case either - as all we know is the LP was recorded there), and one of the members showed up in a later incarnation of Hot Tuna (maybe).

Any former Ram band members, producers out there who would like to get in touch with me and set the record straight? Anyone out there know more about this group? I sure would like to know more.

Wikipedia says this: "Ram is a musical group that was based in New York City in the United States and was active in the early 1970s. Band members included brothers John and Ralph DeMartino as well as Bob Steeler who later played with Hot Tuna. Many reports state that a mellotron was the instrument used for the spatial and electronic effects of Ram's music. Actually, they were the result of electronic flute and in some cases, tenor alto and soprano saxophones (sometimes played 2 at a time) by John DeMartino. The band produced one album on Polydor in 1972 entitled Where? (In Conclusion). "

Fuzz, Acid & Flowers - American Garage, Psychedelic & Hippie Rock 1964-1975 says: "This heavy progressive album by a New York progressive outfit is becoming rare and in demand. It consists of five long tracks (one occupies the whole of one side). The music's full of complex arrangements, with lots of mellotron and flute as well as some vicious guitar leads."

---10/21/26

Time to enter into the UMR one of America's all time great prog albums. I said above: "Can you imagine a CD reissue with one or two extra epics like 'Aza'? For me, that could raise Ram to the very best the US ever put out, especially from the early 1970s.". Well it's already there, so I'm not sure what I was talking about. Maybe among the greatest albums ever if they did that. 

In retrospect I was all about Side 2 and somewhat apologetic towards the first side. While I remain incredibly impressed by 'Aza', the first side is an excellent example of both late psych and early hard rock. The flute giving it that European angle that was entirely absent on these shores back then. 

And yea, that second side. Wow. Has the intensity of Il Balletto di Bronzo's Ys. It's stunning. There was nothing at all like this in the States in 1972. It's as if they were dropped in from another galaxy. Instead of outer space, the prevailing theory is they were from New York, so we'll stick with that until other data emerges.

Ownership: 1972 Polydor (LP). Acquired in 1992.

The Akarma reissue is extremely iffy. Comes from vinyl without any corroborating data. So it stays on the CDRWL until something better comes along.

1992; 6/23/09 (review); 10/21/26 (new entry)

Goliath ~ England

Goliath (1970)

---Sep 2005

In the jazzy proto-prog area, with plenty of great flute, and sassy female vocals. One band that rarely gets mentioned as a comparison, but did come to mind here, is Fusion Orchestra. More gritty and less progressive perhaps, but does paint a pretty accurate picture. I also hear some melody / composition lines that recalled the great Diabolus album. Affinity with Linda Hoyle on vocals is probably the most obvious comparison and when they really get into jazz mode, Catapilla came to mind. 

---5/31/09

The more I hear this album, the better it gets. Along with the Time (on Buk) album, this would be my top request for a reissue from a classic UK band.

---10/20/26

That was the CDRWL entry, so this will be the first time I've heard the album in the UMR era. After all these years, the style that Goliath play remains a personal favorite. The British scene of the late 60s and early 70s were loaded with so much talent and imagination. Goliath were smack dab in the middle of it. I find music such as this very easy to listen to.

Ownership: 1970 CBS (LP). Acquired in 2009.

9//05 (review); 6/30/06; 5/31/09 (update); 4/26/10; 10/20/26 (update)

The only other release Goliath had was a 45 that featured two tracks from the album. Still not reissued (legit) as of 10/20/26. Seems like a perfect reissue candidate for the UK centric label Esoteric.

10/20/26 (new entry)

Reale Accademia di Musica ~ Italy

Reale Accademia di Musica (1972)

---May 2005

Here’s an album that has grown immensely on me over time. When I first heard it in the late 1980’s I was nonplussed. But in the last few years, its melancholic introspective songwriter style mixed with classically inspired prog rock has become highly appealing. Nine minute ‘Il Mattino’ captures this combination perfectly. Only ‘Ognuno Sa’ is tough to swallow (too singer-songwriter for me). Fantastic keyboards throughout (piano, organ).

---10/19/26

Time to enter into UMR. The album starts off somewhat slow, and not what one would associate with Italian prog rock. Great things reward the patient. Once the album catches the wave, the results are excellent. 'Ognuno Sa' closes off the A side, and yea, I guess it doesn't maintain the power of 'Il Mattino'. But I like it better than the review above implies. All of Side 2 is satisfactory, moving from standard issue Italian prog rock into heavy rock realms, almost like Uriah Heep would do at this stage. This shores up with the 1972 Italian scene versus the more adventurous 1973 scenario. I attribute this to all (well, most) of the bands challenging each other to reach newer heights of creativity. I talk about this phenomena in both the Semiramis and Alphataurus reviews. When evaluating 1972 (and 1971 by extension), there are many remnants of hard rock and late era psych still prevalent. Reale Accademia di Musica comes from this stock.

I find the entire gatefold cover extremely interesting. What kind of imagination comes up with this stuff? As the youngsters would say today - it's so random.

Ownership: 1972 Dischi Ricordi (LP). Gatefold. Acquired in 2005.

First copy: 1990 Contempo (LP). Gatefold. Acquired in 1991.

1988; 1991; 5//05 (review); 10/19/26 (update)

Sirius ~ Germany

Running to Paradise (1982)

---2/23/10

Sirius' debut is one of the better Genesis inspired albums out there and compares favorably to other German bands like M.L. Bongers Project, Ivory, or Neuschwanstein. As far as these kind of albums go, Sirius is better than most of their contemporaries. In fact, had they been part of the UK new wave of progressive rock, then I could imagine them having the same kind of success as IQ did.

---10/18/26

That was my CDRWL entry, so time for a relisten and to add to the UMR. What's interesting about Sirius is that their music is very much similar to the upcoming neo prog movement out of England. And yet their instrumentation is analog in the 70s tradition, including organ, flute, and violin. The latter trait recalls Hoelderlin at the time of Clowns and Clouds, which Running to Paradise perhaps resembles the most.

If classic Genesis is your bag, hard to imagine Running to Paradise not satisfying on some level. It's my bag, so yea.

No reissues exist as of 10/18/26.

Ownership: 1982 Brutkasten (LP). Gatefold with lyrics in the interior. Acquired in 2010.

1996; 2008; 2/23/10 (review); 10/18/26 (update)

Three Bushes review here.

10/18/26 (new entry)

Wapassou ~ France

Genuine (1980)

After the classically oriented, and somewhat stuffy Ludwig, Wapassou completely shifted gears. For a band that eschewed a drummer for most of their career, it's surprising to hear them return one year later with a funky, borderline disco album. It's so different you wonder why they didn't change their name to promote a new start. 

Once you understand that this album is nothing at all like their first quattro of works, you can begin to get your ears around what they're trying to achieve. This is my second session with the album, my first upon acquisition four years ago. I remember playing the album over and over, as it had a pleasant sound, not far from 80s new wave, yet still entrenched in the late 70s dance floor ethos. I wonder if the band had swapped monikers would it be more sought after today? There's some wonderful analog synthesizers moving it closer to the boogie funk genre. I enjoy newly hired Christine Maillard distinctly sweet French vocals. Yea, true, she can be overwrought at times, but I find her charming. The primitive keyboards of their 70s albums, along with violin, are still present and accounted for. All this leads to the final 11:30 minute track which is a throwback to their earlier style, still with drums though. This serves only to frustrate everybody - the long time fans seeking more of it; and the new audience who isn't particularly interested in haunting prog rock. For me it remains the highlight of the album, but then again I'm an unreconstructed progger at heart.

In all my years of collecting, no one talks these later Wapassou albums up. From a prog rock perspective I can understand why. I got this for all of $2 on ebay, so I couldn't resist at least trying it. Glad I did. In all sincerity, I appreciate this album more than Ludwig, despite its obvious try for broader acceptance. 

The cover art is genuinely (so to speak) bizarre. What the hell is that kid doing anyway? Could only be from France. 

Ownership: 1980 Sterne (LP). Acquired in 2022.

4/20/22; 10/16/26 (review)
 

Ludwig (1979)

In many ways, this is Wapassou's most artistically accomplished work. The classically influenced 34 minute title track is dense and complex, with Wapassou demonstrating their musical maturity over the course of both sides of the LP. And yet, I found myself missing the haunting atmospheres, and mysterious sounds of the previous three albums. Perhaps had they broken this composition into smaller tracks, where they could be dissected individually, it may have worked more smoothly as a whole. As it stands though, the sprawling piece can be impenetrable at times. For fans of the classic Wapassou sound, there is no doubt it is an essential purchase, but it does seem to be a bit too formal I'm afraid.

The CD features a six minute bonus track, which is a separate sound from the album proper. It uses real drums but sounds like a later effort. 

Ownership: 1979 Crypto (LP). Acquired in 2015.

First copy: 198? Omega Studio (LP). Acquired in 1990.

1990; 1995; 9/22/15 (review)

Messe en re Mineur (1976)

My notes on the debut state: "Wapassou are certainly one of France's most innovative bands of the 1970s. And that's saying something given the competition. Basically Wapassou are a drummer less trio, with Crumar organ, piano, synthesizers, violin, guitar, bass and female vocals. Haunting, atmospheric music."

Welp - that's about it! They've just stretched the concept to one 40 minute composition. The female wordless vocals are an acquired taste, but they are memorable nonetheless. And very melodic. There's really no other group like Wapassou during their prime. The fact they managed a three album run (and maintaining distribution from RCA) while playing music such as this - is rather remarkable. Even for France, a country known for avant-garde artistry, that's not typical. 

Ownership: 1976 Crypto (LP). Acquired in 2014

First copy: 198? Omega Studio (LP). Acquired in 1990.

1990; 10/10/11 (review); 2/8/23

Wapassou (1973)

Wapassou was certainly one of France's most innovative bands of the 1970s. And that's saying something given the competition. Basically Wapassou were a drummer less trio, with Crumar organ, piano, synthesizers, violin, guitar, bass, and female vocals. Haunting, atmospheric music. 'Rien' is chilling with Karen Nickerl's disturbed child-like vocals sung over a pervasive and doomy climate, and is arguably the album's highlight. 'Musillusion' is essentially Wapassou's anthem, and contrary to the prior song, is uplifting yet still manages to be melancholic. Side 2 of the album has more of a traditional rock band aesthetic with the inclusion of drums, something they were to eschew after this. For a band such as Wapassou, the additional rhythm and percussion is unnecessary for what the band is attempting to convey. Over the years, Wapassou's debut has entered into the absolute top tier of my album collection. A hidden treasure as it were. It sneaks up on you. One I think will get its ultimate recognition long after we're all dead.

The cover is a personal favorite and is a centerpiece of my "wall of albums". One of the last LPs I would ever sell. A true original LP is very rare. Omega Studio is a re-branding of Prodisc, so it's in effect a second pressing. 

All the CD reissues feature two bonus tracks which is a 45 from 1974 that is similar to side 2 of the album proper, with a more obvious rock context.

Ownership:

1987 Omega Studio (LP). Acquired in 1990.

2015 Lion Productions (CD). Digipak with complete liner notes in English, which I believe is the only release that isn't in French. This is the 3rd CD reissue for me to obtain (the others were the Si-Wan jewel box release and the Belle Antique Japanese papersleeve). This appears to be the definitive reissue. Acquired in 2023.

1990; 1997; 1/27/10 (review); 8/12/12; 8/23/23

Also own: Salammbo

1/27/10 (new entry)

Spooky Tooth ~ England

Spooky Two (1969)

As mentioned on the first post, I found this album on cassette at a garage sale of all things. The tape was sitting on Side 2, so we'll start there.

Fun to hear B3, as I've only known that song from Judas Priest's cover of it some nine years later. I've heard it dozens of times, so the original seems so tame in comparison. But one can see why they covered the song, as it's riff heavy. And it's not like the Priest had a Hammond organ, so there is some distinction.

Otherwise, I'm not getting too much out of this title. It reminds me of the lost year of 1970 albums coming out of North America. It's proto that I guess lol. A mix of blues rock, gospel, and mild psych. B1 is a good psych tune, and I recognize A1 from some radio airplay years ago. A4 has some decent guitar jamming. The rest doesn't go anywhere for me. I prefer the other two titles below, and by some margin.

A&M (MC). 80s pressing.

10/15/26 (review)   

Ceremony (1969)

If you read the below review first, this didn't quite go as planned. I still haven't heard my cassette of Spooky Two, but I found this LP at the Denver record show last week for a couple of bucks, and I fast tracked it to the front of the listening line.

Ceremony is the album they did with musique concrete legend Pierre Henry. It's more integrated than the Deep Purple Concerto album I just reviewed, but not by a whole lot. Spooky Tooth performs a mostly heavy blues rock that can get pretty freaky in places. This is Spooky Tooth at its best, and we hear this sound mostly on A1, B2, and B3. Some really great guitar jams. The music apparently was written for a Christian mass of some sort. The lyrics are heavily Christian, like a record coming from that genre. I wasn't aware Henry was so much of the faith. I'm rather certain Spooky Tooth were not, and they tried to disassociate themselves from top billing here. The album had potential to be a proto Krautrock classic. Imagine Pierre Henry pulling a Klaus Schulze, and the instrumentation lets loose for the duration. But it's way too ordinary for that, and blues rock is the end conclusion. An interesting album, though not something I need to keep. It did inspire me, however, to create a page for the band.

A&M (LP). Later 70s pressing.

4/18/26 (review)

It's All About (1968) 

Spooky Tooth is another one of those bands that I've known about for most of my record collecting life but never actually heard. Found a nice pink Island copy up in Denver. It wasn't cheap but it was a really good deal, and it's hard to pass on these early UK pressings. I would describe the music as a type of psychedelic soul. From the latter comes the passionate crooning. From the former is the period sounds and instrumentation. Nothing really blew me away here, but I found it a pleasant listen throughout. Also I came to learn that one of the album's best tracks 'Too Much of Nothing' is only on these early pressings. It was swapped out with something apparently lame on the subsequent A&M releases. I've been told their second album is much better. I have it on cassette of all things, so I'll get to it eventually unless I find the LP first. At that point I might build out a page for them. 

Ownership: 1970 Island (LP). Pink "i" label. Acquired in 2025.

4/29/25 (review)

4/18/26 (new entry)

Bill Bruford (& related) ~ England

Bill Bruford's Earthworks (1987)

Since I already added a page for Bruford, I might as well consolidate his other albums here as well. Something like Bill Bruford's Earthworks would normally find its way to the Journals otherwise.

Which is not to say I somehow don't like the music. It's absolutely fine, though it's not my favorite era nor my favorite flavor of jazz fusion. Getting some real ECM vibes here, that pervasive "need to be an adult" sprinkling that underground artists of the 70s felt compelled to do. The wild and wooly previous decade had passed, and everyone got a haircut, and were provided far better studio accommodations while at it. The technology had also improved, much to the detriment of the actual sound being projected. If only a raw psychedelic edge was applied, then it would be curious to hear the music in that manner.

This CD was part of a large grouping on ebay, of which a few of the titles were of interest to me. The rest I treated like throw-ins, like this title, and I'm certainly happy to check them out as I go.

I met Bill Bruford once. It was after a King Crimson concert in Denver circa 1995. We had one those backstage pass stickers. I've never been one to be star struck but my running set were all about it. He was certainly affable. As I reflect, I do recall having a certain "wow, I'm having a 1:1 conversation with Bill Bruford" moment. I tried to be respectful and offer up a more meaningful conversation, though I don't think anything I said captured his imagination. I was put-off by some of his remarks at the time. Some years later, as I thought about it further, I became sympathetic to Bruford. Night after night, talking to the same ol' prog dorks, about the same ol' crap. Though I tried not to be that, I'm rather certain I was just that. He was doing his duty and answering questions in a perfunctory manner. Just like sports figures do today. Tough business.

1987 EG (CD). Booklet with photos and a high brow jazz essay.

10/14/26 (review)

Bruford - Feels Good to Me (1978)

Somewhat typical "all star" cast gathering from the late 70s. The good news here is the strong Canterbury component brought on by Dave Stewart, Annette Peacock, and Neil Murray. I don't really hear any of Bruford's former bands Yes or King Crimson here, which is not a problem. At times the album seems on the border of greatness, but it often falls into the trap of many solo albums - too many disparate ideas and styles. It's a borderline Gnosis 10 to 11, but yes, I have to admit it is excellent on the whole, and much better than most that tried this very thing. Still... it seems it should have been better.

Ownership: 1994 EG (CD). Booklet with liner notes. Acquired in 2014.

10/18/14; 12/20/18 (review)

Also own: Bill Bruford's Earthworks - Random Acts of Happiness

Previously owned: Gradually Going Tornado

12/22/21 (new entry)

The Next Morning ~ USA ~ Brooklyn, New York

The Next Morning (1971)

The Next Morning are often compared to Jimi Hendrix, though they are much more hard rock influenced than psychedelic I'd submit. Now it could be said that Hendrix himself was moving in this direction, but I hear The Next Morning more in line with other early 70s American hard rock outfits. Heavy guitar, fuzz bass, and Hammond organ define their sound. I think given their unique Caribbean background, they had a different perspective than other groups of their ilk. You can even hear fellow Brooklyn Caribbean musicians Mandrill in their sound, minus the funk angle. Supposedly Columbia was interested in signing them, but I hear The Next Morning as a bit too primitive and amateurish for a major. They did ultimately sign with Calla, a subsidiary of Roulette. Not surprisingly, the album didn't sell all that well, hence its rarity today.

Though The Next Morning was founded by two immigrants from Trinidad, both were settled in Brooklyn and formed the band there. So they're really an American group.

Ownership: 1999 Sundazed (CD). Booklet with historical liner notes, lyrics, and recording info. Acquired in 2000.

2000; 11//04; 10/13/26 (review)

Cortex ~ France

Troupeau Bleu (1975)

---2009

A very fascinating jazz funk record. While not the most sophisticated album you’ll ever hear, it absolutely kills with breezy melodies, tribal / funky drumming, and the soft / seductive French female vocals. Nice driving bass and electric piano. The title track is sublime as is the catchy 'Mary et Jeff'. Other highlights include A5, B1, and the much sampled B3. Sits somewhere between the Belgian Canterbury Zeuhl group Cos and the more creative efforts of the NYC disco act Chic. 

---10/11/26

I played this CD quite a bit when I first purchased it. Troupeau Bleu is such a pleasant listen, and it's short, inviting multiple playbacks in a session. 16 years later, and I had a similar experience raising the grade to a +1. I wasn't aware of Sergio Mendes' work in 2009, but it becomes apparent how much Cortex borrowed that sound. The wordless and / or foreign female vocals, the friendly confines of Bossa Nova (or Samba in this case), and the uplifting melodies. Added is a jazz rock component that Mendes himself had experimented with on Primal Roots.

The CD adds one short bonus 'Jazz Dance' which is simply a variation of 'Mary et Jeff'. Nothing revelatory.

Ownership: 2008 Underdog (CD). Digipak with recording details. Acquired in 2009.

11/19/07; 1//09 (review); 3/14/10; 10/11/26 (update)

   

Volume 2 (1977)

Many, many years ago I heard Cortex's 3rd album Pourquoi? and trashed it off as disco, never bothering to return to the band name again. Now I'm wondering if there wasn't more there, as Volume 2 could just as easily be considered disco. But on close inspection there is so much more happening here, it would be a tragedy for fans of the French fusion sound to ignore. Sure there are the fat beats, especially on the opening track, and the requisite white-boy funk track to follow. But as the album continues, the beats become more subtle, with plenty of jazz fills, while the bass player introduces some Top / Paganotti moves. Horn charts, tortured electric guitar solos and piano / Rhodes leads began to dominate. And when the flute takes over... oh, those melodies will be forever etched. This is a really good one and you can boogie on down with it too. I can go for another helping of this.

Ownership: 2002 Follow Me Records (CD). Triple fold-out with liner notes. Acquired in 2006.

3//06; 2/27/10 (review)

Previously owned: Pourquoi. Need to revisit this title for certain.

2/27/10 (new entry)

AirSculpture ~ England

Impossible Geometries (1995)

---Apr 2005

First ten minutes are more in the ambient field, but they blast out with an incredible sequence, thus placing their stamp on the EM marketplace forever. Overall, this may be their weakest album, and I think that has more to do with the fact they haven’t bought all the cool equipment yet, especially on the analog side.

---10/4/26

This is where it all began for one of the more prolific Tangerine Dream styled English trios coming out of the 90s. I had called out Impossible Geometries as possibly their weakest album, and that may be the case. But it is their first and it remains a strong title. I'm inclined to keep this, and we'll see where the other two remaining titles land after evaluation.

Ownership: 1995 Neu Harmony (CD). Booklet with liner notes. Acquired in 2005.

4//05 (review); 10/4/26 (update)

 

Thunderhead (1998)

Airsculpture were one of a handful of Tangerine Dream revivalists coming from Europe in the late 90s. All of their albums are very good and consistent with the Berlin School aesthetic. Airsculpture are less distinctive than their brethren such as Redshift, ARC, Radio Massacre International, and Free System Projekt. This was the first one I bought by them, but I think I'll let it go.

1998 Neu Harmony (CD). Acquired in 2001. 

2001; 9/5/24 (review)
 

TranceAtlantic (2005)

Of the three prominent UK based Berlin School electronic revivalist groups, AirSculpture were the most purest. That is to say, they never ventured beyond the keyboard trio format. No forays into space rock, or modern electronics. No real drums, or electric guitar. Nope - just synthesizers. So for my tastes, they were the least interesting of the bunch, though I own all their works to the point of this album, as they certainly are very good at what they do.

Playing on another popular theme, this is AirSculpture's trip-to-the-USA album. Whereas fellow countrymen Radio Massacre International weighed in with Solid States, an album highly influenced by Tangerine Dream's Encore, AirSculpture's schtick was the use of acoustic piano that was procured for them onshore. Which I quite liked personally, and a rare deviation for the group. Piano is an instrument that works well in electronic music, providing the warmth and elegance missing in what can be a sterile genre if not done correctly. The album is over two hours long, and each disc opens with a lengthy piano section (I didn't time them, but they're not too long, just the right amount), followed by sequencers, and later, improvisations. That was their stated intention, and pretty much that's what these live concerts are. Two hours is a lot of music, so it's not the kind of album that captures your undivided attention for long stretches. It works better as a soundtrack to a country drive in the evening, or a quiet Sunday afternoon of introspection.

TranceAtlantic was pretty much the last hurrah for AirSculpture from a traditional release standpoint. It was their final CD release for Neu Harmony. The band is still active, releasing only downloads and CD-R albums, which is a pity (there are a couple of exceptions). I stopped here with AirSculpture as well, as it didn't seem the band were going to progress beyond the boundaries they set for themselves. Not necessarily a fair statement, since I haven't heard their albums of the last 12 years, but one based on observations of their first decade together.

1997 Neu Harmony (2xCD). Acquired in 2004.

9//04; 2/26/17 (review)

Also own: Attrition System; Quark Soup

Previously owned: Europa, Fjord Transit

3/4/17 (new entry)

2026 Revisits of prior UMR entries Vol. 11

Tusmorke - Underjordisk Tusmorke

Love Cry Want (1972)

I Califfi - Fiore di Metallo

The Bridge - Overdrive

Gabor Szabo - Live With Charles Lloyd

Mediterranea - Ecce Rock

The Next World - Symphonic Rock

Acintya - La Cité des Dieux Oubliés

Charisma - Beasts and Fiends

Mahoujin - Babylonia Suite

Hoelderlin ~ Germany

Hoelderlin (1975)

Hoelderlin's second album came three years later after their debut, and is quite a departure in sound. Opening up with a mellotron drenched prog rock instrumental, it's clear they've moved on from their Krautrock inspired folk sound. While the second track is folk based, it's more Jethro Tull than Emtidi or Broselmaschine. There are elements of Traum on A3 with its dark folky presence, though most of the composition is of a symphonic prog nature. A4 has a Genesis flavor due to the vocals, though it's a relatively straightforward song. This leads to the side long 'Deathwatchbeetle'. If there's any doubt where Hoelderlin's heart is, then this track underscores the point that they are ensconced into the prog world. Genesis remains a strong presence in their style at this stage.

Ownership: 1977 Spiegelei (LP). Acquired in 1993.

1993; 1995; 1998; 7/8/06; 10/3/26 (review)
 

Rare Birds (1977)

Rare Birds follows the unique Genesis meets cosmic / space rock hybrid of Clowns and Clouds, with yet another difficult-to-pin-down progressive rock album. The compositions are increasingly more accessible, with a certain soft lens focus coloring their sound. Viola is clearly their defining instrument at this point. Vocals are airy and melodic. The songwriting is excellent, and given the right commercial backing, Hoelderlin would have been household names. From a prog fans standpoint, the album's highlight is the driving instrumental 'Necronomicon'. This is an album that has grown on me tremendously over the near 30 years I've been acquainted with it. Definitely not an "immediate" release, so something to consider if you're encountering the music for the first time.

Ownership: 1977 Spiegelei (LP). Acquired in 1987.

1987; 7/10/07; 8/14/12; 10/11/15 (review); 2/7/23

Clowns & Clouds (1976)

Clowns and Clouds, Hoelderlin's third album, is a diverse work from this classic 70s German symphonic progressive rock band. No doubt Genesis is a major influence here, especially on the 'Clowns' side (tracks 1 to 3). 'Madhouse' could easily have been lifted from Genesis' Trick of the Tail, but with the addition of viola and squealing sax, which gives it an entirely unique sound. 'Your Eyes' is interesting to me, because it sounds like something you'd hear on a late 70s / early 80s Alan Parsons Project album, though the instrumental sections are much more progressive rock oriented. The 'Clouds' side is considerably more unique and is what makes this album special. Here, Hoelderlin offer up a more laid back and cosmic rock music. Violin, flute, sax, Rhodes, synthesizers, acoustic + electric guitar, and a steady rhythm section make for a serene and beautiful experience. Difficult to find comparisons for this side of their music, but perhaps the instrumental sections of Novalis' second album and Dawn-era Eloy can provide some context. The cover features a nice water painting.

Ownership: 1976 Spiegelei (LP). Acquired in 1993.

1993; 1995; 5/8/12 (review)

Also own: Holderlins Traum; Live Traumstadt

5/8/12 (new entry)

Steve Hillage ~ England

L (1976)

I was late to the party on getting the scent regarding Fish Rising. But I was really late in obtaining L. I remember seeing this title in the used record stores while in college during the middle 80s. For whatever reason, it didn't capture my imagination, so I left it there. I'm sure I heard the album prior to 2014, but I couldn't remember anything about it. Well, I could say the same thing now, as I revisit the title for the first time in 12 years.

The album opens up quite unusually with a cover of Donovan's 'Hurdy Gurdy Man'. This is followed by a space rock jam supposedly based on the song, though there's no musical evidence of a connection. It's quite spirited, and takes Hillage's You-era Gong style to a similar spot in the galaxy. It becomes clear at this point that there will not be a Canterbury component as on its predecessor. Rather Gong becomes front and center. The music is a mix of cover songs and Gong styled space rock jams. It's this latter sound that Ozric Tentacles would take forward into the 80s and beyond. There's about 25 minutes of really great music, and the remainder is a bit tedious. Not a bad average, and given its influence on future generations, the argument is strong that the album remains in the collection even if it doesn't always pass the bar.

The CD offers three bonus tracks, including an instrumental backing track to The Byrds' 'Eight Miles High', certainly a better fit musically than the Beatles and Donovan covers that made it to the album. The other two bonus tracks are worthy as well. The LP is still a cheap commodity here in the States, giving the CD the edge in both content and marketability.

Ownership: 2007 Virgin Europe (CD). Booklet with historical liner notes, photos, memorabilia, and recording details. Acquired in 2014.

11/22/14; 9/29/26 (review)

Fish Rising (1975)

Steve Hillage's debut is sort of an amalgam of You-era Gong and Hatfield & The North. Certainly the godfather of modern space rock, Hillage's group looks like a proto Ozric Tentacles, complete with wool caps, goofy names, and crazy song titles. Then there's Dave Stewart, probably the last guy to go in for such tropes, though he has history with Arzachel doing just that. With Hillage. Ah what the heck, one more time going out getting high with the boys (and girls) from school before getting serious. Well, sort of serious. So yea, Canterbury goes space rock. A combination that can be nothing but great, especially if one sticks to protocol. And they did.

This is one of those albums I somehow missed in college, but my running set in the early 90s showed me the way.

Ownership: 1975 Virgin UK (LP). Lyric insert and a label audiophile inner. Acquired in 2014.

First copy: 198? Virgin (CD). Acquired in 1992.

1992; 12/27/21 (review)

Also own: Green

Previously owned: Live Herald; Rainbow Dome Musick

12/27/21 (new entry)