Steve Tibbetts ~ USA ~ Minneapolis, Minnesota

Exploded View (1986)

The collection I acquired in January had all the Steve Tibbetts LPs from Yr to Big Map Idea. I've owned Yr for many years (but never on LP until now), and at one point or another I owned Safe Journey and (possibly) the album I'm covering here. 

I did listen to Northern Song earlier this week, which was his debut for ECM. This title I hadn't heard prior. Once again, as I say often about the label, it's all very adult. It was a pleasant listen, almost all acoustic guitar and hand percussion, though not something that captured my imagination in any way. So it found itself to the sell bin.
 

Next up would be my revisit of Safe Journey which I recall starting off with a bang, which it indeed does. He brings back the electric aggression of Yr, and as I noted on that review, one can hear the atonal guitar sounds of David Torn. Then... back to the style of Northern Song. There is another electric number, and you can tell Tibbetts is probably struggling internally on where to go next with his sound.

Exploded View would be the answer to that question. Seemingly he is going to follow the same formula as Safe Journey, except he's extending the electricity much further here. And adding a ton of percussion from long time collaborator Marc Anderson. Asian themes are predominant. The album gets stranger and wilder as it goes, always a hallmark of a good album. Exploded View seems to exist to defy ECM and their traditional adult jazz format. My memory of the contents of Exploded View are considerably more faint than Safe Journey, questioning how I heard it in the first place. I wasn't expecting to keep this, but this title is highly unique and satisfying, so I will.

Interesting to note that ECM didn't even bother to release this on LP here in the States. It went straight to CD in an era when players were still expensive.

Ownership: 1986 ECM Germany (LP). Acquired in 2026.

2/6/15; 11/5/26 (review)
 

Steve Tibbetts (1977)

Steve Tibbetts' debut album is as groundbreaking as his more recognized second album Yr. My recollection of his debut was something more akin to an instrumental acoustic guitar album with a blazing freakout electric piece at the end. But actually there's more than that on display. There are synthesizers throughout, and the acoustic guitar accompaniment is more common in what one would hear on a French electronic album back in the 1970s. Which makes me wonder if Tibbetts didn't spend a bit of time in the Import section of his local Minneapolis record store. And, yea, 'How Do You Like My Buddha?' is still a killer closer.

Ownership: 1977 Frammis (LP). Acquired in 2015.

9/14/18 (review)

Yr (1980)

Minneapolis based guitarist Steve Tibbett's second album is quite a diversion from his debut, and as well for the ECM label that reissued this a full eight years after the fact (with a new cover). Starting where 'How Do You Like My Buddha?' left off from the otherwise all-acoustic debut, Tibbetts gets straight to the point of the album at hand. The all instrumental Yr features Tibbetts on acoustic and electric guitars, keyboards (including quite a bit of mellotron), and all sorts of stringed instruments. Accompanying him is a bassist, and no less than four credited percussion players. So while the album cannot help but feel tribal, especially looking eastward toward Asia, the album doesn't comfortably fit in genres such as World Fusion or New Age. Primarily this is due to Tibbett's decidedly psychedelic guitar style. There really is no album like Yr in the vast annals of musical history, that I'm aware of anyway. Including from Tibbetts himself who more or less began to adopt the ECM aesthetic going forward. Perhaps early David Torn provides a slight guidepost, but this is far more warm and alive. Even if you've heard other Tibbetts albums, I strongly encourage you to lend an ear to Yr (so to speak). It's a revelation.

Ownership: 1980 Frammis (LP). With signed insert #769. Artist is shown as Steve Tibbtz. Acquired in 2026.

First copy: 1988 ECM Germany (CD). Promo. Acquired in 1991.

1991; 7/24/13; 8/11/15; 7/17/18 (review)

Also own: Big Map Idea

Previously owned: Northern Song; Safe Journey; A Man About a Horse

7/17/18 (new entry)

Pekka Pohjola ~ Finland

Jokamies / Everyman (1983)

I bought this LP when it first came out in the States (under the Everyman title). I'm not even sure why I bought it to be honest. I think the cover drew me in. I wasn't aware of Pohjola in those days, even before I ran into anything by Wigwam. Maybe I knew he was a fusion artist, not sure.

And, mannn, was I disappointed. Whatever I was expecting it certainly wasn't this. One of my most scarring spec buys of my early collecting career. I was probably at my poorest in 1984, so it was a spontaneous bad decision.

This is my first time to hear it since that time of my life. The collection I acquired in January had just about every Pekka Pohjola on LP. The two below I already owned, so those extras went into the sell bin. The rest, as you see on the bottom of this post, await for me to hear for the first time - or at least the first time in over 30 years. I will be tackling those in the next couple of months. I pulled this one forward because I already had familiarity.

If I had the benefit of context setting, then I would have been able to digest the album much better. Of course I just would have avoided it altogether. Apparently it's a soundtrack to a television movie made in 1983. It says so on the back cover too, but I guess I was too impatient to read it. In any case this is far more an electronic album than the prog or jazz fusion we associate the great bass player with. I could see Vangelis releasing something similar though it's less upbeat. There are some proggy twists here and there, but that's not the focus of this rather unusual release. Glad I could reconcile with it, though certainly not something I need to keep.

1984 Breakthru' (LP)

1984; 11/4/26 (review)
 

Keesojen Lehto (1977)

Pohjola's 3rd solo album, known in the English world as The Mathematician's Air Display. I don't find Pohjola's solo work all that gratifying, but they are still very good, worthy of ownership. This album has a lot of participation from Mike Oldfield. So much so, that in the early 80s they tried to pass this off as a Mike Oldfield solo album! That was not very nice - and probably downright illegal.

Ownership: 2021 Svart (LP). Gatefold with history. Acquired in 2022.

4/30/22 (review)
 

Pihkasilma Kaarnakorva (1972)

This is Pekka Pohjola's debut solo album, the famed Wigwam bassist who had a very successful and prolific career. At this point in his journey, Pohjola had Frank Zappa on the mind, and with that comes the good and the bad. On the positive side, the tight compositional framework and high melodic content provide a very satisfying listen. But there are some arty improvisations. The bass is also mixed way up front, perhaps not that surprising. And at times, it's a bit noodly in that department. All in all though, a very good start, and well worth keeping. Also features a wonderful stained glass cover art. 

Ownership: 197? Love (LP). According to Discogs this label "shouldn't exist" as it doesn't fit the prototype of any other Love label. The rim text tells us it's not a 1972 original, and that copyright notifications were not added until 1976. Just judging by all the factors here, it's probably released between 1973 and 1975. Acquired in 2022.

1/4/22 (review)

Also own: Harakka Bialoipokku; Visitation; Katkavaaran Lohikaarme; Urban Tango; Flight of the Angel

1/5/22 (new entry)

Enrico Rava ~ Italy

Katcharpari (1973)

A reliable friend recently recommended this title to me, and since it was just released on CD for the first time (in Japan), I went ahead and grabbed a copy.

Technically released under the band name Rava, oh yea, Katcharpari is my kind of freaky jazz rock. Elements of Bitches Brew, and the Friends album are apparent. Especially the latter. And who is that guitarist providing the psychedelic guitar pyrotechnics? Yep, none other than John Abercrombie. I also like the noirish pieces, recalling Miles Davis in his Kind of Blue state. But with modern special effects applied. Rava also likes to wail similar to Maynard Ferguson on occasion.

I've run into Rava's name before, but I'm struggling to place where (beyond reading about him). According to my collection in Discogs, the only intersection is on the horn rock work by Gas Mask (of all albums), where he is the trumpet player. I sense I'll find more albums as I go.

Ownership: 2025 Solid / MPS (CD). Liner notes in Japanese. Acquired in 2026.

10/28/26 (review)

10/28/26 (new entry)

German Oak ~ Germany

German Oak (1972 / 198?)

---Aug 2005

One can imagine a wood paneled, smoky basement bar, deep in the labyrinths of Dusseldorf with half empty silver platters of wienerschnitzel and potato pancakes, old copies of Mein Kampf laying about, a semi-destroyed photograph of the worst mustachioed man in history hanging crooked on the wall over the beer steins lined up over the mantlepiece... the bartender still trying desperately to look fit in his brown suit. 

Completely stoned out of their frickin' minds, German Oak blast away non-stop on fuzz guitar, bass and drums with introductions from none other than the Fuhrer himself. Only with Guru Guru circa 1970 do we get this kind of zonked sound out of Germany, yet they were already accomplished jazz musicians trying to create psychedelic free rock. With German Oak, you get the real deal of earnestness mixed with incompetence, one of the only truly pent-up anger releases of World War II you'll ever get from the mother country. I had expected there would be more albums like this from Germany, but they were not to be found. Rather the Cold War represented the required tension, as best exemplified by the Berlin based Ash Ra Tempel on their first couple of brain scorching albums. 

The album is dedicated to their parents "who had a bad time during the war". Seriously? How understated is that?

---10/27/26

And that was the last time I heard German Oak. Time for a revisit and enter into UMR. What I didn't mention above is that the CD front loads the bonus tracks, which is where you hear Hitler's insanity speeches. One can understand why this album isn't overly popular. It is simply guitar based jamming, though they do still add a melody in there every once in a while. It's the imagery, sound, amateurism, era, and enthusiasm that makes the album work. It's not necessarily accomplished Krautrock, as noted in my initial review, but rather a unique slice of German rock history. Take it for what it is, not for what it isn't.

According to many sources, this album was not released in 1972, but later in the 70s or even the 80s. I believe that to be true. When I started receiving my first mail order lists in the late 1980s, German Oak was readily available. Always expensive (too much for me at the time), but copies were around back then. That would be typical of a later pressing.

Though the CD label is notorious for pirate editions, this isn't one of them. Band member Manfred Uhr was responsible for its release.

---

Please see Spyros' remarks in the Comment section, which clears up the situation more.

Ownership: 1990 Witch & Warlock (CD). Booklet with some history notes. Numbered edition (mine is #536). Acquired in 1991.

1991; 8//05; 10/27/26 (review)

Previously owned: Nibelungenlied

10/28/26 (new entry)

Arachnoid ~ France

Arachnoid (1979)

Another one of my all-time favorite albums that I've never attempted a review of. I remember the first time I heard it, I about fell off my chair. Maybe I did and hit my head. Would explain things.

The first track is stunning. It possesses the haunting feel of Pulsar's Halloween with an intensity unlike any other. The section with the Frippish guitar, and the six year old girl speaking in French, followed by the lead singer losing his mind is a highlight of my entire collection. I find it hard to concentrate after that. But the music that follows is no less excellent. Everything about it is perfect, especially the tonality. The guitar, synthesizers, flute, production, vocals, mellotron, you name it. And the creativity is off the charts. One wonders where they got some of these ideas. It's kind of random yet the compositions flow beautifully. Has the French theatrical madness of Ange and Mona Lisa combined with a Red era King Crimson intensity. 

Not too many 5 star albums that I still get a +1 listen out of. But I just did. I can't believe I'm reading negative reviews of this album, and how it's nothing special. smh. Like I said above, I probably hit my head all those years ago.

The first three bonus tracks, while not the best sound quality, also possess the same high creativity as the above. These all predate the album proper. The final track is a different mix of A2.

Ownership: 1996 Musea (CD). Booklet with lengthy historical liner notes. Includes four bonus tracks. Also includes A3, which was missing on the original LP! Acquired in 1996.

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

1989; 1996; 2/11/07; 10/27/26 (review / new entry)

Trayn ~ USA ~ Jacksonville, Florida

Hits Hot (1980)

Found this recently at a local vintage shop in their $2 bin. Saw it carried some value, and it had the look, so I'm grabbing it fast.

While listening to Hits Hot, I was reminded of another obscure band from the exact same year: The Franklin Street Arterial. While there is no guitar, it was the analog synthesizers that made me think of them, especially on the opening track. Wonderful melodic sax and flute as well. This is old school funky fusion, far removed from the slick gloss of smooth jazz. Keyboardist also throws into the mix some organ and Clavinet. It's a tad too friendly and crowd pleasing to be an underground classic. I'm afraid I'm going to have to let this title go, though it was very close to making the cut. 

Since it fits the CDRWL model, I'm creating a separate post, rather than adding it to a journal entry.

Never been reissued in any format.

1980 Homestead (LP)

10/26/26 (review / new entry)

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. (11/4/26: Turns out I had the LP here as well from that January collection)

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)