FM ~ Canada ~ Toronto, Ontario

Direct to Disc (1978)

Funny to watch my trajectory with FM, a band I couldn't be bothered with in my initial foray into progressive rock back in the 80s and 90s. Yes, I had heard all of their albums back in the day, since they were common then too. I had at least one friend insist that I should at least like the album I'm listening to right now, but I wasn't having any of it.

Now I'm a big fan of all their initial four albums. And, yes, Direct to Disc is certainly the most progressive oriented of the lot. There's also a strong electronic component here as well. Cameron Hawkins is completely unleashed here. Vocals are kept to a minimum, and there's no intent for securing a radio hit. In this way, I'm going to categorize the album different then their brethren.

You'd think an audiophile limited edition record, on a small label, would be worth serious dinero right? While certainly this title holds the most value, it's hardly a bank breaker. And for a limited edition, there sure are a lot of pressings out there. Making the premise faulty from the beginning. Ironically I found this for the cheapest price of them all, recently digging it out of a 25 cent bin. My entire FM LP collection cost me less than $5. 

Ownership: 1978 Labyrinth (LP). Gatefold. Acquired in 2026.

4/6/26 (review)

Surveillance (1979)

Musically Surveillance is very much the sound of the aforementioned Black Noise combined with City of Fear. Each album takes baby steps to more commercial realms, but they're proggers at heart, keeping the music interesting throughout. Suddenly I've become a late-in-life fan of FM.

Ownership: 1979 Passport Canada (LP). Acquired in 2023.

10/27/23 (review)

Black Noise (1978) 

Black Noise is an excellent example of proggy AOR music with fat sounding synthesizers, violin, and a strong rhythm section (Cameron Hawkins performs double duty on bass). Fits well in that unique Canadian niche of groups such as Saga, Dillinger, Klaatu, Avalon, etc... A couple of years ago I was pleasantly surprised by City of Fear, and so goes Black Noise. 

Ownership: 1978 Visa (LP). Acquired in 2023.

10/22/23 (review)

City of Fear (1980) 

This is just the kind of album I poo-pooed in my youth. Constantly pushed in my face as "prog", I tended to react negatively. Well it's not Yes, but it's definitely proggy. And over the years I've really been drawn to that late 70s "prog AOR" music. And these Canadians have a great thick sound. Many highlights can be found here. Very much in the Saga, Klaatu mold. 

Ownership: 1980 Passport (LP). Gatefold. Acquired in 2021.

11/29/21 (review)

4/6/26 (new entry)

2026 Classic Rock / AOR Journal Vol. 1

Mike Pinera - Isla. 1978 Capricorn (LP). When I found this album in the 25 cent bin recently, I said to myself that I know this name but cannot remember why. Oh, that's right, he was the guy who shared the marquee with Iron Butterfly on their final first phase album. I couldn't tell you anything about his contributions there, an album I didn't exactly praise too highly. His recording career is quite extensive, beyond his own solo works. He's also the guy behind the label Illusion, which is filled with collectable titles. When deciding if I wanted to waste valuable time listening to this album (a beauty of a copy too), I read it was Yacht Rock. Like many of my generation, I have a sort of fondness for the cruise ship era, even if it was just a tad before my own high school years. And you know, the tag definitely fits. It's definitely rock oriented, not a cover-up for smooth jazz funk. Pinera plays a pretty mean guitar too. It seems he's on the verge of being the next Frank Marino, before jumping back onto the boat. Love the period synthesizers, and even some old fashioned organ can be heard. Good head boppin' and toe tappin' music. Were this a private release - say on the Illusion label haha - then it would be an easy three figure album. But alas, it's not. (4/6)

Azteca - Pyramid of the Moon. 1973 CBS Netherlands (LP). I've had this LP since 2003, and I don't think I've heard it again until today. During that period, my interest in Latin Rock has shot up considerably. Especially considering bands like Malo, Naked Lunch, Sapo, and Sincerely Antique. I was very familiar with Chango and Dakila back then, and I think it would have been unfair to expect every Santana influenced group to sound like those two. Even before owning this LP I had the debut on CD. It never clicked and I sold it off many years ago. In hearing Pyramid of the Moon I can understand why I did that. This isn't the raucous sound we've become accustomed to from the early 70s. Definitely more Latin soul influenced. Not to suggest there aren't moments of goodness here. Would have loved to hear more guitar from Neal Schon, as but one example, but he only guests on one track. Overall it's a smooth and commercial sound. Comparisons to Sergio Mendes wouldn't be unfair, from a glossy sound standpoint. Not something I need to hold onto at this stage. (2/17)

Offenbach. A&M (CD) (1977). Montreal's Offenbach is one of those groups that I've read about since the 1980s but never actually heard. This self-titled album is their 6th release. What you get here is nine short blues rock tracks with grungy guitar not much different from early ZZ Top. Most tracks mix in old fashioned rock n' roll, and couple of creative bits including organ and flute. Too straightforward overall for me though. (1/24)

The Open Window ~ USA

---Nov 2005

The Open Window is truly an oddball album (on the truly oddball label Vanguard). Very arty, with three non-percussion artists. Apparently Peter Schickele is known in avant-garde circles and has a full blown website (he's PDQ Bach as it turns out). This album is barely mentioned, probably a blemish on his record (as far as he's concerned). There's some fuzz organ here which I was drawn too.

---3/19/11

Perhaps the original avant progressive album. Despite featuring a psych album cover, the group clearly has an academic pedigree, while the music is rooted in both classical and jazz. Basically a trio of three keyboardists, with organ (some wonderfully fuzzed out and compressed), electric piano, acoustic piano, electric harpsichord, and clarinet. There are some oddly placed vocals, that give it a offbeat rock feel. Chamber jazz avant classical? Yea, I don't know how to describe it either.

---4/6/26

I had totally forgotten about this album. I sold off the copy above about a decade ago. Then found it again recently in a local record store's buck bin. I can't let it sit there for that price! I had also forgotten my notes prior, but it becomes clear from the above the album is almost unclassifiable. It's progressive for 1969, but not really progressive rock. And one feels compelled to throw a psychedelic tag on it, especially given the cover art. Stanley Walden's organ playing is the standout for certain. Or perhaps the sound rather than the technique. There is a bit of an early Soft Machine feel here, though I think it's coincidental. I was glad to revisit this title, and appended a +1 while at it, but still not something that is necessary to keep.

I never added this to the CDRWL, probably concluding it was out of scope. No matter, as in 2015 it was reissued anyway with bonus tracks.

Former ownership: 1969 Vanguard (LP). First acquired in 2005. Reacquired in 2026.

11//05 (notes); 3/19/11 (review); 4/6/26 (update / new entry)

Passport ~ Germany

Infinity Machine (1976)

---5/24/07

Infinity Machine is a fascinating experiment, which allows the listener the opportunity to fantasize what it would’ve been like had Tangerine Dream released a jazz album. Why you may ask? Check out the sequencers that dominate one half of the album.

---4/6/26

Had this noted in my "need to revisit" list below. Found a cheap copy at the last COS record show, so let's try it again.

I wasn't really quite sure what I was going on about in my original review. All of Side 1 is a typical funky type of fusion. Well done, though not particularly memorable. The title track opens side 2 in a more dynamic fashion. The album's highlight is the lengthy 'Ostinato' where Kristian Schultze gets busy with the synthesizers and mellotron. It's this track that I was referring to, though it's only half of a side, not album. The closer of both sides are of an introspective nature. Good album, which was my initial assessment, but not enough new revelations, beyond the one track as noted above.

Source: 1976 Atlantic (LP)

5/24/07 (notes); 2/8/14; 4/6/26 (update)

 

Doldinger Jubilee '75 (1975)

We were recently in Tulsa, Oklahoma, on our way back home from acquiring the collection in the Southeast. I arm-twisted Mrs. UMR in allowing me to dig at one record store for about 20 minutes. There were no obvious great deals, or anything that I really wanted, so what I usually do in that situation is pick up at least something. I like to support the stores, but not spend too much if I don't have to. So I walked out with one good classical album - and this, priced properly at 3 bucks. I've never heard it, so why not see if it's collection worthy. That lineup is solid, with Philip Catherine, Kristian Schultze, and Curt Cress leaping out to my eyes.  

The tunes are mostly culled from prior studio albums, with Les McCann's 'Compared To What' and Catherine's 'Angel Wings' added to the repertoire. My initial reaction was this is a very good concert, but a bit subdued. Doldinger has a sax tone that doesn't always resonate with me. Side 2, though, brings a high energy level, and suddenly Side 1 opened up in a similar manner. Wolfgang Schmid's bass work, in particular, is stellar. A2 and all of B are your highlights. Going to keep this one.

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

1/20/26 (review)  

Second Passport (1972)

Wasn't expecting Passport to be the source of my next +1 listen. But that's recently what happened as I was drawn in by the energetic, and at times, complex jazz rock brought forth by Klaus Doldinger's bunch. A2, A4, B2, and B3 are stellar. A3 is spacious and provocative. Meanwhile A1 and B1 appear to be more traditional but each breaks into their own serious jams. Saxophone and organ lead the solo parade. Superb album.

Ownership: 1972 Atlantic Germany (LP). Acquired in 2023.

11/18/15; 4/15/23 (review)

Looking Thru (1973)

Looking Thru is the 4th album from Klaus Doldinger and Passport. It's also the only one I hadn't heard to date of the first six. And as 'Eternal Spiral' opens, I thought I may have missed out on the best one! Right from the start, Moog's, mellotrons, and energetic rhythms propel this most auspicious opening. And then... ...it's Passport. For the most part you get seven pleasant jazz fusion sax driven instrumentals. They're a professional band, and the quality of musicianship and production are high. 

My original assessment of the album (from the Japanese CD) was good, but inessential. A relisten last night confirms that it probably isn't essential but I still had a +1 listen. Most likely this stems from my recent interest in jazz funk, and I found the melodies more pleasing this go round.

Ownership: 1974 ATCO (LP). Acquired in 2022.

3/7/19 (review); 3/11/22 (update)

Also have heard Passport (1971); Hand Made; Cross-Collateral. Need to revisit all of them.

3/7/19 (new entry)

First Light ~ Australia

First Light (1978)

---7/19/10

First Light were a band from Australia with direct ties to the excellent progressive rock / AOR hybrid band known as Aleph. First Light is a bit different though, and they play a mighty fine (mostly) instrumental jazz rock. Sunny in its approach, with some excellent guitar leads, at times reaching a Santana like intensity. Some nice ensemble unison runs with sax, flute, electric piano, and the female voice on 'Earth Wave' gives it a Northettes feel, that adds points. 'Tropical Inequation' is brilliant, a 5 star instrumental. Back cover says: "Mellotron and special effects kindly supplied by Aleph",though I can honestly say I couldn't spot the mellotron. High quality Australian fusion that deserves to be filed next to Crossfire, Snakes Alive, and Mackenzie Theory.

---3/27/26

That was my review for the CDRWL. I also snuck in another listen to my cd-r and added it here to UMR (likely updated the review as well). Now I've finally secured the LP, much to my glee, and will forward the contents to the current date.

Do I have anything to add to the original review? Not really. I called out two tracks above, and they both open the second side. I would suggest, then, that this side is the better of the two. Though not by a whole lot. The music is highly melodic, and isn't showoff-y in the slightest. Sits comfortably between jazz fusion and progressive rock, though I would categorize it as the former.

Ownership: 1978 M.F.S. / Music Farm Studios (LP). Gatefold.

7/19/10 (review); 9/28/18; 3/27/26 (update)

No legit reissues as of 3/27/26.

9/28/18 (new entry)

Dionne-Bregent / Bregent ~ Quebec, Canada

Partir Pour Ailleurs (1979)

My memory of this album is almost non existent. I could have sworn I'd heard it prior to 2017, and wrote a review, but I have no record of such. The two Dionne-Bregent albums, yes, but not Partir Pour Ailleurs. 

And this isn't going to be easy. It's one of those unclassifiable prog rock oriented albums, which can only be considered a plus. The brothers Bregent consists of keyboardist Michel-Georges on keyboards, and Jacques on vocals. They are joined by at least five others on guitar, bass, drums, and reeds. This includes former collaborator Vincent Dionne. Jacques' French vocals are intense, recalling some of the Theatrical prog bands coming from France similar to Ange and Mona Lisa. The album opens with a 50s styled rock n roller like Johnny Hallyday. It's a complete head fake, as the remainder is a mix of challenging prog, heavy fusion, and electronic styles. Michel-Georges background in the field of progressive electronic ensures the listener that the music will not crossover into popular styles easily. There's even elements of Zeuhl and Canterbury present here. The music requires intense focus, as it's a very deep, intelligent, and surprisingly melodic affair. This is no academic avant prog album. Though recorded in 1978, most of the material is from 1972, which might explain the high level of creativity.

Also lost to memory is the CD includes a full live show titled Live A L'Uqam 1977. This is a more stripped down affair. Other than the final track, the others are live recordings of material taken from the album proper. Given the auditorium atmosphere, it would be difficult to produce the same results as the studio offered. No less satisfying however.

I did not realize that this is one of the best CDs in my collection. Until now.

Ownership: 2007 ProgQuebec (CD). Booklet with recording details, photos, and a short biography. Acquired in 2017.

6/10/17; 3/27/26 (review)
 

Deux (1977)

One year later from the debut, Dionne et Bregent provides us with a completely different outlook on Deux, one considerably more positive. Not to mention the material is much more of a complex nature, verse the entirely atmospheric debut. The first side, broken into seven parts, may recall for the listener other keyboard / drum progressive rock duos such as Rusticelli & Bordini, Eden (France), or Kashmir. There’s quite a bit of variation among the seven themes presented here, from quiet harpsichord passages to raging Moog solos.

The backside of Deux positions Dionne and Bregent firmly in the high energy, but melodic, fusion category – quite a ways from the dark, alien sounds of 'L’Eveil du Lieu' from the debut! Two tracks are presented here: 'Campus' and 'Transit Express' (could have they known about the excellent French fusion group of the same name?). Tangerine Dream circa Force Majeure would be another reference. Plenty of great soloing (Moog, Mellotron, Clavinet, vibes, xylophone), time signature changes, and complex songwriting.

Not surprisingly, the two bonus tracks are, once again, very different from anything else on display. Dionne performs a 13 minute solo percussion version of a 1959 Stockhausen composition, which has an academic "serious" modern classical feel about it. The final track is the 10.5 minute 'Fil de Terre', which apparently was recorded for a soundtrack. It’s a rock based affair, not too distant from the material on 'Campus', but again there's a twist, as this is considerably darker in tone with some nice violin soloing. No date is given, but sounds a bit earlier than the two albums proper. The duo themselves called their music Rock-Classico-Cosmique. That’s more accurate than anything I could think of!

Sadly Michel-Georges Bregent died in 1993. Bregent has other albums, most notably with his brother Jacques in the band with their surname, but his work with Vincent Dionne is unparalleled in its creativity.

Ownership: 2006 XXI-21 Productions (2xCD). Includes ...Et Le Troisième Jour in its entirety + two bonus tracks. Acquired in 2006.

11//06 (review); 12/27/18

Also own and need to revisit Et Le Troisième Jour.

12/28/18 (new entry)

Eloy ~ Germany

Ocean (1977)

As noted in the Planets review, Eloy had adopted a sound in the mid 70s and continued to progress upon it. Ocean is the second (or really third if we count Power & The Passion) that played in this style. Wish You Were Here-era Pink Floyd was certainly an album that had impact upon the German band, and some of the more spacey progressive bits owe to that album's atmosphere and mystique. It's very different from the dynamic Inside and Floating albums of yore. The album is a type of "easy listening" prog. It's not overly challenging but the tones and rhythms are pleasing to the ear. Klaus-Peter Matziol provides some memorable bass riffs, not an instrument we often hear take the lead, other than perhaps within the Zeuhl world.

Ocean is Eloy's most known work, and both RYM and ProgArchives proves this theorem. The latter takes it one step further and states it's their best album too, whereas RYM crowns Silent Cries and Mighty Echoes. For me personally, I find Ocean to fit perfectly in their late 70s repertoire, though it was never my favorite era of the band. My review of Inside lays out why.

Ownership:

1977 Harvest / Electrola (LP). Top loaded gatefold with lyrics and recording details in the center. Acquired in 2015.

First copy: 1989 EMI Electrola (CD). Acquired in 1989.

1989; 2/12/07; 3/24/26 (review) 

Planets (1981)

By 1981, Eloy's sound could be only be considered BIG. Wide open expansive music with fantastic bass and synthesizer chords. They'd been more or less working towards this album since 1976's Dawn, and had perfected the formula by the time of Planets. While the earlier Eloy albums such as Inside possessed both tricky time shifts and long solos, Planets is none of those things. But it's not plodding like Pink Floyd either. Overall a very pleasing music, strong on melody, and has a good groove. The type of sounds that you could draw new fans in given its lack of dissonance or avant garde techniques.

For whatever reason, even though I owned most of the Eloy albums by the time I left college in 1987, I never picked up Planets. In fact, I don't recall seeing it. I had the others on the label by then: Time To Turn, Performance, and Metromania. It wasn't until 2014 that I finally purchased the LP and heard for the first time.

Ownership: 1982 Heavy Metal Worldwide (LP). Textured single sleeve with lyric inner. Acquired in 2014.

2/27/14; 9/10/22 (review)

Silent Cries and Mighty Echoes (1979)

Eloy was one of Germany's most famous symphonic rock groups. They had a few phases, but their most popular was the era Silent Cries and Mighty Echoes was released in, when they were in full blown Pink Floyd mode. What I like about Eloy is their ability to provide space. This leads to the appreciation of the big, fat riffs that cascade throughout. The guitar and keyboard leads are profound, if not necessarily complicated or overly inspired. An easy band to enjoy on initial impact, I highly recommend Eloy to progressive rock fans who are looking for something new beyond the well-known bands. For old hands, as cynical as they may be, Eloy always manage to deliver as well. A very good album.

Ownership: 1979 Harvest (LP). Gatefold. Acquired in 1991.

11/11/91; 1996; 3/18/10 (review); 12/23/24

Inside (1973)

---8/19/06

Inside is Eloy’s second album and their first foray into progressive rock. This was one of my very first Continental European albums to own, and would have to consider it a strong influence on my personal preferences, especially upon initial discovery in the mid 1980s.

More overtly complex than most albums from Germany, and not really Krautrock in the traditional sense of the word. Blindfolded, and not knowing any better, I’d say Eloy - on Inside anyway - sounds more like an early 70s group from England. While vocal / guitarist Frank Bornemann is the clear leader of the band, the musical focus on Inside is squarely on the shoulders of organist Manfred Wieczorke. He carries most of the solos, as well as many of the melody lines. In fact, the organ virtuosity displayed here is some of the finest to ever be committed to a rock album (and that’s quite a statement!). In some ways, it almost seems they’re hiding Bornemann’s guitar playing. Without question he’s competent, especially during the composed melody runs, but does seem uneasy in the improvisational solo sections. Bornemann’s accented vocal style heavily resembles Ian Anderson, which I think leads to the frequent Jethro Tull comparisons Eloy gets tagged with (during this stage of their career at least). Also of note is the rhythm section of Fritz Randow and Wolfgang Stöcker, which is strikingly crisp and fiercely driving.

Side long opener ‘Land of No Body’ contains Manfred’s jaw dropping organ performance (both the atmospheric sections and in the ripping solos). Following this, the title track demonstrates the group’s complex compositional side. ‘Future City’ is Eloy at their most creative, with the musical emulation of a wind-up toy gone mad. ‘Up and Down’ is more in line with what other Germanic groups were doing at the time, recalling the haunting work of Paternoster or the more inward looking songs by Twenty Sixty Six and Then, My Solid Ground, or Murphy Blend. Interesting to note that Wieczorke took on the vocal duties here, and his heavy German accent gives it a completely different feel than Bornemann’s more refined (yet still accented) English. Without a doubt, this is a Hall of Fame album, and one of the finest German symphonic rock albums ever made.

---7/21/24

Interesting to research my notes and journals to realize I haven't heard this album since my Gnosis review in 2006, nearly a full 18 years ago. I entered this early on into the UMR because I had a full review, but didn't hear it then either. My tastes have not changed at all regarding this album, and my perspective remains as above. Other than a few word and grammar changes, the review below continues to hold court for me

Ownership: 1973 Harvest / Electrola (LP). Uni-pak gatefold. First pressing. Acquired in 1986.

1/6/86; 8/19/06 (review); 7/21/24 (update)

Other albums I own and need to review: Eloy (1971); Floating; Power and the Passion; Dawn; Colours; Time to Turn; Performance

Formerly owned: Metromania (which I wouldn't mind hearing again, it's been many years); Live

6/21/09 (new entry)

Bizarre Ko.Ko.Ko. ~ Austria

00 Time (1984)

---1/21/11

Regular readers of the CDRWL know that I'm quite fond of the Berlin School of sequencer based electronic music. And that's where Bizarre Ko.Ko.Ko. fits in perfectly. In fact, this is version 2.0 of Cultural Noise, an LP from my collection that I fawned over way back when. This isn't that dissimilar from Cultural Noise, though it's clearly moving away from the Tangerine Dream influence, and adding an overall darker mood. Mellotron, sequencers, and guitar are all present, especially early on. It begins to deconstruct towards the end, making it sound more like an early Klaus Schulze effort (think Cyborg). Really a fine effort and a must hear for EM fans.

---3/16/26

That was the original CDRWL entry, penned after acquiring the LP. This is my first revisit since and I'll add it here to UMR.

One can't talk about Bizarre Ko.Ko.Ko. (would like to know the reasoning behind that moniker) without referencing Cultural Noise. And that's because they are 2/3rds of the same band. Looks like it was Gerhard Lisy who sat this one out. The crazy titles stayed in place as well, with 'Retracting The Reflected Consciousness Of All Having Come To Into Being' taking first prize. And look at that cover. What the hell were these guys into? Alien insanity, that's what. If curious, the cover was done by one of the two members of the band: Walter Heinisch. Clearly Hans Rudolf Giger was an influence here.

Musically these guys were still entrenched into the analog 70s. No hints of 1984 here. This isn't their "Poland" or "Drive Inn" album, that's for sure. Some very inventive sequences can be heard, especially on B1. I referred to B2 as deconstruction, but there's plenty of sequencing there too.  

Ownership: 1984 Synoptik (LP). Acquired in 2011.

No CD reissues as of 3/16/26. Has been reissued on LP.

1/21/11 (review); 3/16/26 (update / new entry)

Gargantua ~ Poland

Gargantua (2003)

---2004

This album didn't meet my expectations as they were set to believe a Magma, King Crimson, and Gentle Giant combination. Naturally I took that to mean Mekanik meets Red meets Power & The Glory. But it could also mean Uppsala meets Discipline (still don’t hear any Gentle Giant I’m afraid). Modern sounding, very jazzy in the piano, digital-80’s style synths, clean and distorted guitar runs. Their sound sometimes reminds me of the new French group Nil, but in a different genre altogether. Expectations are funny, but now that I have my head around this, I’m enjoying it a lot more. Jazzy Zeuhl with Crimson moves. Something very different than anything else overall.

---3/16/26
 

There's these albums in my collection that I have zero recollection of. Gargantua's debut is one of those. Fortunately I have prior notes like the above. Despite a UMR era listen, I didn't enter the album into this site then. So I'll do that now. What does this third listen reveal?

Well it definitely belongs to the avant prog genre. Charted counterpoint rock music is how I hear and envision it. While we don't hear this sound so much from Poland, we do from neighboring Czech Republic. And I think that's where our signposts are: Uz Jsme Doma, Combo FH, MCH Band, Aku Aku, Dunaj, etc... The Polish vocals are a unique twist. The Zeuhl reference is real in that Univers Zero sort of way. And the guitars can get violent like Present does on occasion.

When the music is over, you begin to realize you've experienced something highly unique. None of the contents are groundbreaking, yet the way it's arranged and presented is just that. Groundbreaking. This is one of those albums I'm really glad to own, but if someone offered me something else like it, I'd probably take a pass. Strange, and perhaps illogical, that mindset is. But that's how I feel. One is enough, I submit.

Ownership: 2003 Ars Mundi (CD). Booklet with lyrics in Polish plus recording details. Acquired in 2004.

2004 (review); 6/20/17; 3/16/26 (update)

Gargantua went on to release one more album which I've yet to hear.

3/16/26 (new entry)

Sensations' Fix / Franco Falsini ~ Italy

Sensation's Fix (1974)

---5/12/07

I didn't know until recently that Sensations' Fix even had a self-titled debut album. Apparently it was only a promo and not sold through stores (ED: I was later to find out it was a sound library album), despite sporting a unique cover. It's a little more underproduced than their later material, but it unmistakably has the Sensations' Fix space rock sound. Much of the material represents earlier versions of songs that would show up later on Fragments of Light though some of the material is entirely unique to this release. 

---3/16/26

A few years after those notes, Universal released the 6th volume of their Progressive Italia series. And today, I'm hearing the album for the first time in 15 years from that same CD. Such an interesting album really. While generally regarded as their debut, this is probably true from a chronological recording data standpoint. Fragments of Light had been released by Polydor in 1974, though it remains unclear if this sound library album was sent to stations before or after that fact (note the misspelled group name). Consider that Portable Madness was also released in 1974, there's only so much time in a year. Musically this sounds like a raw demo. The kind of album that a metal band would release on cassette before maybe hitting the big time with an LP contract. Which certainly doesn't make it a bad album. One can already hear the great ideas Falsini had in his head, and his guitar playing is as soulful as ever. The sound is demo quality for certain. Hollow and thuddy. Part of the charm I think. The CD is taken from vinyl, so it's difficult to know how the original tapes may have sounded. And the odds of me obtaining the original LP are slim, especially since it was never for sale in Italy, much less here in the US.

Speaking of which, all these years later, and the reissues of Sensations' Fix remain an embarrassment. If there was ever a group who needed professional treatment, it's these guys. A box set of carefully mastered tapes would be amazing. Do those tapes even exist? Who knows. Only the Falsini anthology Music is Painting in the Air gives us any clue of what the possibilities may be.

Ownership: 2010 Universal (as part of the 6 CD box set Progressive Italia Gli Anni '70 Vol. 6). Acquired in 2011.

5/12/07 (notes); 2/5/11; 3/16/26 (update)

 

Franco Falsini - Cold Nose (1975)

Franco Falsini's only solo album takes in one part Manuel Gottsching, one part Richard Pinhas, and three parts of the outer galaxy he apparently emigrated from. Analog wedgy electronics, and thick oozing heavy guitar shards define the sound palette, whereas the melodies are pulled from his own Sensations' Fix cookbook - you'll hear plenty of snippets from Fragments of Light and Portable Madness within. I would love to see the movie that was inside of Falsini's mind during this recording. Essential head space music.

Ownership: 

1975 Polydor Special (LP). Acquired in 1989.

2010 Universal (as part of the 6 CD box set Progressive Italia Gli Anni '70 Vol. 6). Acquired in 2011.

1989; 2/5/11; 11/21/17; 5/25/18 (review)

Portable Madness (1974)

And here we have... the single greatest space rock album of all time!

No small claim that. Not an irreverent throw out to grab one's attention. Not an epiphany on the 4th beer. No - this is pretty much where I've stood for the 26 years I've owned the album. Last night it comes up again, and reminds me that it is, indeed, the single greatest space rock album of all time. Of course, not everyone will agree with that, and probably the it's overrated crowd will be along here any minute.

Twisty, turny, kinetic, psychedelic, jumpy, murky, primordial, psychotic, and melodic are just a few adjectives that come to mind here. The opening two numbers are great enough, but once 'Phase One and Phase Two' starts spinning in multiple directions, you are sucked into the vortex of another world and dimension. If this doesn't happen to you, then stop surfing the net, watching TV, texting on Facebook with a Russian hooker, or vacuuming the rug. Start from the beginning and pay close attention. OK you there now? Good, so now by the time you get to 'Pasty Day Resistance', you have reached what I consider the single greatest space rock track of all time. There's more twists and turns on this five and half minute track then I've heard on full double albums. 'Leave My Chemistry Alone' will finally polish you off, and presumably you're in a cold sweat by now. The album closes with two relatively sane compositions, and tries to return you to Earth, but doesn't quite get there. You are lost forever.

The fuzzy photograph on the front cover, taken in the same spirit as Big Foot and the Loch Ness Monster, tells you all you need to know about its provenance. This can't be Italian - nor German as it may seem - but something from another galaxy.

Ownership: 

1974 Polydor (LP). Textured single sleeve. Acquired in 1991.

CD: 2009 Universal (as part of Progressive Italia Gli Anni '70 Vol. 1 - The Universal Music Collection). Acquired in 2009.

1991; 5/28/09; 9/19/12; 10/27/17 (review)

Also own and need to review: Fragments of Light; Finest Finger; Boxes Paradise; Music Is Painting In The Air

10/27/17 (new entry)

Diagonal ~ England

Diagonal 4 (2021)

As noted recently for the newest Jordsjo, Viima, and Hooffoot albums, I took a lengthy break from buying retro prog albums. God knows I already have enough of the real thing from the 70s, plus just about every newer act since the 1990s playing similar. As with those three bands, Diagonal were a favorite, and it was only a matter of time before I got back on the saddle of the 1970's progressive rock horse. I skipped over their 3rd album, which received mixed reviews, though I'm betting I'd enjoy it. Perhaps I'll acquire it some day too. In any case, I've revisited both Diagonal albums in recent years, much to my continued satisfaction. And my reviews stayed static, meaning I captured properly what I heard initially. Let's see if there newest one ignites my imagination in a similar fashion.

Right away they start off with the psychedelic guitar, which is always a plus in my book. Melodic sax enters, and we are back into the 1971 English landscape. As noted below, Diagonal do not play in the tradition of the English prog bands that made it big in America. But rather those that played the UK club circuit to reasonable success, before hanging it up or changing their sound dramatically. When talking retro prog, Diagonal is about the only band that tread down this path. One whose trail still needs clearing. After hearing the album in full, I'd declare the opening two tracks as the winners of the bunch, as they are more representative of their trademark sound.

While Diagonal has always put out LP length albums, this one is on the short side. Ironic then, that on 4, the band stretches out more into languid guitar based jams. There's less kinetic changes here, and leans in towards space rock, a twist that begins to reveal itself about halfway through. With that in mind, I don't think Diagonal was able to scale up on their first two albums. At least from my point of view, though one can hardly blame a band for trekking a new path forward. I'm sure repeated listens will enlighten me further. A well done album, though I'm not sure if I'm willing to say it's essential. At least yet. ProgArchives, for their part, rates it Diagonal's highest with the caveat it also has the least amount of ratings.

Ownership: 2021 Cobblers (CD). Digipak with lyrics and recording info. Acquired in 2026.

3/16/26 (review)

 

The Second Mechanism (2012)

If the debut laid down the premise that Diagonal were to be the retro progressive rock band to be reckoned with, then The Second Mechanism fulfills that conclusion. Perhaps more studied than their first opus, with even more twists and turns to keep the modern short-attention-spanned listener completely enthralled - ironic given Diagonal's 1971 disposition. But such was the state of that era - and ours. Diagonal are a band that have gone from great to greater, and I can only imagine what they will come up with next. Let's hope the group continues to explore these paths that were not as tread upon as many people might initially presume. Diagonal are walking the little known side trails from the main highway. And there are many aural treasures to be found.

Ownership: 2012 Metal Blade (CD). Digifile. Acquired in 2013.

1/29/13 (review); 10/11/23

Diagonal (2008)

Diagonal are the first modern UK band, that I know of anyway, to truly capture the essence, atmosphere, and sound of the original progressive rock movement from 1970-1971 England. Many groups have come along and tried their hand at generating the sound of Yes, Genesis, ELP, Gentle Giant, Jethro Tull, Pink Floyd, Renaissance, King Crimson, and Van der Graaf Generator. And while all of those groups are worthy of imitation, they only represented a fraction of the original UK movement. Of course, they were the ones that made the big time, so it's more than understandable how they attracted more admirers than others. But Diagonal has clearly absorbed the record collections of the deep divers - in particular the Neon, Dawn, Transatlantic, Vertigo, and Deram labels and their stable of bands. With Diagonal you'll hear references to bands such as Cressida, Samurai, Raw Material, T2, Beggar's Opera, Gravy Train, Spring, Clear Blue Sky, Diabolus, East of Eden, and Indian Summer. But here's the most important part to understand: They have absorbed the influence, not copy it. And so you get an entirely new album within a familiar context. And because the band has clearly studied this era in depth, not to mention incorporating the period instrumentation (mellotron, Hammond organ, Fender Rhodes, fuzz bass/guitar, sax), they are able to create an extract of the genre. What that means for us modern buyers is an enhanced product - perhaps even exaggerated. For my tastes, Diagonal have created the perfect retro progressive rock album. An album to be held up as an example of how to do it right. If you're a student of the genre, then let Diagonal be your teacher.

Ownership: 2008 Rise Above (CD). Slipcase. Acquired in 2009.

2009; 1/20/11 (review); 4/21/18

1/20/11 (new entry)

Manfredo Fest ~ Brazil

Brazilian Dorian Dream (1976)

My only encounter with Manfredo Fest prior was the hyper obscure EP that I - more or less - rediscovered about seven years ago. Dutifully added it to Discogs, and some economics flunkie sold it for $15. When the next $1000+ copy moves, I'm sure he'll feel smart. Which is why I stopped adding things to Discogs. Too many slow brains out there to trust with these sort of rarities. Triggers me. If only Carolina Soul had a copy first. Here's my review of that EP, and my experience with it, and how it started my Unknown Vinyl Records blog (which I've fallen terribly behind on, and I have so much more to add there). Discogs shows an ownership of 2. The smart person that grabbed the $15 copy (I presume). And me. Those might be the only two copies left on the planet.

Which gets us to Brazilian Dorian Dream, which is by far the most known and popular of Fest's albums. I was sold on its contents in about - oh - 25 seconds. Starting off like every album that features The Northettes, Fest proceeds to bring out the Mini Moog and electric piano, the rhythms go on fire, and Roberta Davis provides the beautiful airy wordless vocals. It is about perfect, and it only gets better from there. Have to think that Sergio Mendes' Primal Roots had a role in the sound displayed here. Someone astutely compared this album to Cortex's Troupeau Bleu, where there are many similarities. Which recalled my own observation of Cortex reminding me some of Cos, taking us back to our Canterbury roots. This isn't a Canterbury album of course, but it has that feel-good optimistic sound, with brilliant songwriting. Perhaps had Fest added an electric guitar, or a flute, then Brazilian Dorian Dream would have gone to even a higher plane. I'm more than happy to be on the mountain he scaled as it is.

Ownership: 2020 Far Out (CD). Booklet has only the original liner notes. Taken from vinyl but it does sound good. Acquired in 2026.

3/16/26 (review)

3/16/26 (new entry)

Michal Urbaniak ~ Poland

Live At Lile Eule, Bremen (1972)

After the last two sessions with early Michal Urbaniak, which proved to be pretty rough, I didn't have high hopes for a full 2 CD set of live material from the same era. All the pieces are taken from those two albums, and then extended. I'm not sure I'm up for all of this, but I'll at least let it play for a bit and see if some of this gels in a manner I can appreciate.

They waste no time getting into the noisy action with 'Winter Piece' from the debut, complete with Ursula's scat and a drum solo. Next up is a 28 minute centerpiece circling around 'Valium' from Paratyphus B. This will be telling.

Yea, no surprise, but this goes way beyond my interest level in jazz, rock, or music in general. Truly avant garde, one has to admire the creative spirit here. Would prove to be a tough task to emulate what Urbaniak and the gang are doing here. I can't imagine a "Michal Urbaniak Group" cover band.

I'll toss this in a box, and either sell it one day later, or trade it locally to anyone who is interested in it. I know that his later albums are far more to my tastes, and I'll update this post when I get to them.

3/9/26 (review)
 

Inactin (1973)

Back into the Sound Pieces set. Paratyphus B proved to be too "out" for my tastes, let's see how Inactin does.

Yes, a bit better. A little more focused, though its clear Urbaniak had no intention of going mainstream here. The German influences are more to the fore, and there's clearly some of that Krautrock experimentation going on. Mixed with free jazz. Every once in a while they catch a groove and you begin to think this might be more towards jazz rock. Then it shifts gear into atmospheric jazz, and a lot of noodling. Ursula sounds even more wacked out here. Not easy listening for certain.

Next up will be the live show. 

See Paratyphus B for ownership details. This title came from a VG record, curious why they didn't find a better one to use for their CD. Not so rare in Germany.

2/23/26 (review)

Paratyphus B (1971)

I'm largely ignorant of Michal Urbaniak's extensive canon of work, though I've been aware of him since I started crate digging in the middle 1980s. Some like-minded friends were into him, though I never pursued in earnest. I recall very little about his music that was played for me back then.

As I listen to Paratyphus B, I can understand why I probably didn't pursue. You really have to be in the mood for stuff like this. Released only in Germany on the Spiegelei label, you can hear the avant garde jazz of the era almost immediately. Urbaniak provides a very adventurous type of electric violin, miles away from the likes of Jean-Luc Ponty. On the final track he plays the saxophone in similar fashion. Future wife Urszula Dudziak is very much into scat singing, and she is at once energetic and atmospheric, occasionally at the same time. Electric piano also gets a workout. The three piece rhythm section rounds things out. 

This title is a bit rough for my ears. The melodic jazz parts work really well in this setting, but it gets very noisy in places that I don't find pleasant or comforting. Not sure how this CD set will turn out. Depends on where I land with the other recordings. I don't mind owning music like this, as it provides a stark contrast, just not too much of it please. More to come.

Former ownership: 2023 Made in Germany (3xCD). Part of Sound Pieces. Tri-fold digipak with historical liner notes inside the digipak. Obviously mastered from vinyl (or a noisy tape). Acquired in 2026.

2/9/26 (review)

Also once owned: Body English

2/9/26 (new entry)

Eat Static ~ England

Science Of The Gods (1997)

If I'm to accept the premise of Eat Static, then I most certainly can appreciate the alien conspiracy of me suddenly listening to a lot of their albums. Must be divine intervention. Haha. In any case, back in 2006 when I acquired a few of their titles, this was in that stack. Unfortunately the CD was wrecked (despite claims to the contrary from the seller), and I ultimately gave it away (it played fine). Lo and behold, there is this title sitting in a local record store's buck bin, this time in mint shape. Well, we can't have that, so let's scoop it up and make another go at it. Will I have more of an Implant or De-Classified experience?

I didn't realize Steve Joliffe, the old Tangerine Dream warrior, played on this. Just one track 'Keyll', but interesting all the same. Supposedly he plays reeds, but it's not in the traditional sense. My best guess is the sound is from a saxophone but heavily distorted. It's just one note essentially.

The album is a bit too much on the bleepy / blippy side for me to engage much with. It's head boppin' music for sure, and would be for great exercise dance music. But for sit down listening? Not so much. Looks like it fell into the Implant category.

Former ownership: 1997 Mammoth (CD). Multi foldout booklet with artwork and recording details. 

3//06; 3/9/26 (review)
 

Abduction (1993)

Well look at this, Abduction was randomly selected much sooner than I expected. As noted on Implant, this title is the last to be evaluated for permanence in the collection (as much as any album can claim such). Let's see how it goes, after being pleasantly surprised by the more recently acquired De-Classified.

This title used to be a treadmill regular before I took up trail running in 2009 (which I have yet to relinquish to this day - every day). So for three years I'd sweat profusely to this album many times. 

There's a distinct sound of India in the vocals, sampled percussion, and scales used here. Which made me think of Goa Trance. Some very interesting dissertations out there describing how Psychedelic Trance became the inheritor of the term. Others maintain it to be separate. It is really fascinating how many subgenres there are to the broader EDM. I do appreciate the effort to distinguish even if many feel that genres have become too scientific.

For me, I don't really have too much of this kind of sound, and if I do, they are more in the organic space rock realm. Not so much synthetic. As I listened through the CD, I tried to remember my "treadmill sequence". I'm not entirely sure of this, but I believe it was between tracks 3 and 6, which is about the right length for the workout.

So do I keep this? It's a serviceable album, easy to listen to, though not entirely engaging. Given its current low value, I'll keep it around. But its day is coming soon. I definitely enjoyed the newer title to this.

 

Ownership: 1995 Attic (CD). Acquired in 2006.

3//06; 12/29/25
 

De-Classified (2007)

You can see my history with Eat Static in the Epsylon review, and by the time I revisited Implant, I figured I had all I need here from the duo going forward. I honestly had no idea Eat Static went much past 2001, but it's obvious that is not the case. I found this mint CD in the 69 cent bin a few months back, and there's no way I was going to let it sit there untouched at that price. Let's see what we have here. 

As I put the CD in the changer, we're back to the usual radio and TV samples from the space age past, obsessing over UFO's. Then comes the boom boom boom, and weeeeeeee, let's dance. As I allowed the music to continue on, I noticed the energy level on this thing is off the charts. I mean it's relentless. I really had no intention of keeping De-Classified, but it's infectious. Maybe it's because I rarely listen to music like this anymore, so it's refreshing. Ozric head honcho Ed Wynne guests on two of the tracks (not on guitar unfortunately).

Ownership: 2007 Solstice (CD). Six panel poster booklet with nice artwork and recording details. Acquired in 2025.

10/8/25 (review)

Implant (1994) 

There was a brief time I got into these interesting techno styled albums. Eat Static was sort of a gateway drug for many of us psych heads, since they were a side project of none other than Ozric Tentacles. Though most assuredly geared towards the dance crowd, the compositions do move along in progressive rock fashion: Changing themes and tempos often to make for interesting listening sessions. The question I ask myself is how many of these do I need? I didn't load up too much, and have ditched a couple of Eat Static's already. I started with Epsylon (see below), and also own the 2xCD debut, Abduction, and this title. The first two are baked in, and I have a higher rating on Abduction (which will get its day in court soon enough). Yea, this is one too many.

Former ownership: 1995 Planet Dog (CD). Acquired in 2006.

3//06; 11/7/24 (review)
 

Epsylon / Lost in Time (1993 / 1995)

Back in the early 90s, I was quite the Ozric Tentacles fanatic. It seemed they could do no wrong. When I first heard about Eat Static, I was intrigued, but given they were described more or less as a "techno" band, I steered clear. Money wasn't plentiful and needed to be allocated carefully. In 1997, a fellow collector sold to me a good number of his CDs for pennies on the dollar. Among them included Epsylon, this version being the 1995 Mammoth release that also included their 1993 EP Lost in Time.

Also in 1997, I got hitched. Me being the wise old veteran at 32, she a wide-eyed 23. Of course we dated for over a year, but there's still so much to learn about each other as all married couples understand. On one particularly memorable road trip, I pushed Epsylon into the CD player and off we went. Oh, and about 15 minutes later, my beautiful young bride (still is beautiful, turns out) is having the time of her life. Dancing in the chair, banging her head, woo-hooing. Well then, I said to myself - I should stock up on more of this kind of music! Odd, she didn't act that way when I played Guru Guru's UFO. Hmm.

The interesting thing about Eat Static is there's no mistaking their Ozric roots. Take away the analog instrumentation and add synthetic beats, and you have Eat Static. The music isn't dull even for sit down listening. It twists and turns regularly. For my tastes music like this has a natural ceiling of about a 3.5 stars with a couple of outliers. Epsylon / Lost in Time hits up against that. If for whatever reason you haven't heard much music like this, then Epsylon is as good a place to start as any. Note above story.

As for today, some 22 years later, does said wife have much interest in Eat Static? Oh hell no. However all of our nieces and nephews are very much into what is more broadly known as EDM. They're dancing their brains out. Good for them. Still no takers for Guru Guru.

Ownership: 1995 Mammoth (CD). This version includes both Epsylon and Lost in Time. Acquired in 1997.

1997; 12//04; 2/22/19 (review)

Also own and need to review Prepare Your Spirit

Also once owned: Crash and Burn

2/22/19 (new entry)

Boud Deun ~ USA ~ Virginia

The Stolen Bicycle (1998)

The Stolen Bicycle is the 3rd, and as it turns out, last studio album from this fine Americana Jazz Fusion group from Virginia. For each album, Boud Deun increased the complexity in favor of melodic development. As with anything in life, when you move the lever from one side to the other, you hit upon a peak in the middle. And for Boud Deun that was clearly Astronomy Made Easy, where they balanced everything just right.

The album is certainly technically proficient, and there's much to absorb. However, the songs are somewhat interchangeable. Take the 14 part (yes, 14) 'Churches' as an example. Seems I could randomly program the entire suite, jumble them in any order, and have the same experience. There's just not much in the way of a composition with a purpose. It's 14 random jams - albeit tightly played and skilled. I thought my perception coming out of the 2024 listen may have been a bit too critical, but as I sit here and jot down some thoughts, I'm forming the conclusion what this album means to me. The other two have special time and place memories for me, while we hear a group growing together in an exciting way. The Stolen Bicycle is Boud Deun's day at the office. It becomes understandable, then, that the band may have felt the same way. They said everything they wanted to, and decided to hang it up.

It's a fine album, and I'll hold onto it for now, especially since its value in the marketplace is too low for this kind of quality. I'd rather keep it for a random listen somewhere down the line. I should stress it is a very good album, but is missing some key ingredients I listen for. ProgArchives has a different point of view, and rates this their highest. It is, for certain, more professional. If such things matter to you.

Ownership: 1998 Cuneiform (CD). Booklet with a children's story written by guitarist Shawn Persinger. Acquired in 1998.

1998; 2/22/24; 3/9/26 (review)
 

Fiction and Several Days (1994)

I waxed on below about Boud Deun for the Astronomy Made Easy album. The debut is a bit rougher and less focused, but no less pleasurable. Great guitar and violin work can be heard here, with some inventive songwriting. These guys were at the forefront of the 90s American progressive rock renaissance. As an aside, it appears this is two albums sewn together. Quite literally Fiction ...and... Several Days.

To add, I enjoy covers like this one, with the rusted farm equipment and a chicken on the back. Real America.

Ownership: 1995 E.H.P. (CD). Acquired in 1995.

1995; 6/18/20 (review)

Astronomy Made Easy (1997)

Boud Deun represents - for me at least - the optimism of the late 1990s. Both in life and in music. In particular, progressive rock had really found its footing again, and new and exciting bands were cropping up all over the world. Boud Deun's privately pressed debut was met with great enthusiasm, so much so that America's premier progressive rock label at the time, Cuneiform, scooped them for their roster rather quickly. Because of this association with the label, you'll often see Boud Deun tagged with the Avant Prog genre, but that is simply not the case here. Cuneiform, especially in those days, were promoting various kinds of progressive rock, beyond their core base. And it didn't hurt that Boud Deun were practically neighbors with the label, hailing from northern Virginia.

The regional note plays a role in their music as well. One can point to the Dixie Dregs as perhaps the blueprint for their sound, at least when The Dregs were focused on jazz fusion verse country rock. But it also becomes clear that Boud Deun had a knowledge of worldwide progressive rock. Their sound mixes in European styled jazz rock but with a touch of Appalachia. And a sophisticated kind of symphonic fusion, that we also find in Europe and Japan. Let's be clear: Astronomy Made Easy does not pull a single punch - it's very intense folks. But here's the kicker - it's also highly melodic, so that it does stay in the memory banks. Technical plus melody plus regional folk customs + rockin' out = success.

On a personal note, I brought along a pile of CDs before I was to be married in April of 1997. It was the long road trip from Denver (where I resided at the time) to Dallas (where I grew up). If I were to associate one album from that period of time - it's this one. So nostalgia plays a big role in my own subjective viewpoint. What's more interesting here for those reading this is... I hadn't heard the album in 22+ years since then. And guess what? I remembered much of it. It came back as each track unwound itself. I often read this is one of those highly technical albums that is academic overall. I beg to differ.

Ownership: 1997 Cuneiform (CD). Die-cut booklet. Acquired in 1997.

1997; 11/15/19 (review)

Also own and need to review The Stolen Bicycle

4/15/20 (new entry)

Univers Zero ~ Belgium

Ceux Du Dehors (1981)

I was surprised to learn that I haven't covered a single Univers Zero album in UMR. I had really tired of the band in the last 20 years, and sold off all the later titles starting with Heatwave and ending with Clivages. But I kept their classic 2nd through 4th albums, of which this represents the middle. So might as well get started here, an album I haven't heard since the 90s I'd submit. If any of the other Univers Zero albums walk back in here, I can readdress them at that time.

It starts off in a hellish mode, chamber music for the 5th rung. I had forgotten that there was mellotron here, an instrument that I would never associate with the music of Univers Zero. Once the music settles down, the mood only goes darker. Game of Thrones styled classical music, 30 years before the fact. Definitely not an album to pick up ones' spirits (well, I know a couple of guys who do get excited at hearing this). This is sit down, take a deep breath, and lower the lights music. Just make sure there is some light. 

I definitely appreciate the album more when they incorporate rock elements (especially on 'Combat'), though that certainly isn't their main premise. I'm not sure avant prog is really the right genre for Univers Zero. They've been shoehorned in for a lack of a better tag. When I was in my 20s, they were called RIO, but that was even more vague given that it was never meant to be a genre, but rather an attitude. Chamber rock isn't much better. Give them credit, Univers Zero is unique within the musical landscape.

Subscription copies came with an additional one sided 7 inch, that was later added to the CD reissues ('Triomphe Des Mouches'). It's similar to the shorter and darker tracks on the album proper with some martial percussion.

I'll probably never be the world's foremost Univers Zero fan, but I can appreciate greatly what they're doing. Variety is good for the collection. I'll probably hang onto these three, which I've had forever, and likely stop there. More to come.

Ownership: 1981 Recommended (LP). Acquired in 1992.

1992; 3/8/26 (review)

Also own and need to review: Heresie; Uzed; Crawling Wind

3/8/26 (new entry) 

2026 Revisits of prior UMR entries Vol. 1

First grouping of 2026.

Mo.Do. - La Scimmia Sulla Schiena Del Re

Eclat - Le Cri de la Terre

Forgas Band Phenomena - Acte V

Simon Jones - Melanie & Me

Opus III - Opus III & Friends

BullAngus - Free For All

Wishbone Ash - There's the Rub

Sincerely Antique (1973)

Gnidrolog - In Spite of Harry's Toe-Nail + Lady Lake

Coryell / Mouzon - Back Together Again

U2 ~ Ireland

October (1981)

I'm pretty much drawing a line in the sand with U2. Their first three albums, not coincidentally all released while I was still in high school, are the albums I enjoy the most. After that, U2 lost me. Though to be fair, almost all mainstream artists lost me as I began my deep dive journey into the 1970s European progressive rock underground while in college. But even in reflection, I cannot relate to U2, starting with The Unforgettable Fire, on any level. 'Bullet the Blue Sky' from Joshua Tree is the only exception. 

One could make the argument that October is their most experimental work, or at least not self-consciously experimental.

You can read my history with U2 below, largely due to an influence of a friend. He's the same guy who inspired me to really appreciate Kansas and early Chicago. A wise fellow he was (and is, I hope).

Ownership: Island (CD). Early commodity pressing.

3/7/26 (review)  

Boy (1980)

I had a chum in high school - and still a friend I keep up with on occasion -  who was a huge U2 fan. He was a "Born Again" type and U2 was a great way to get authentic underground rock and still be with the Faithful. He'd play me this and October all the time in the car (dubbed cassette of course), and I remember liking them. But here we are close to 40 years later and I never bothered to own them - and haven't even heard them since! I really like U2 at this stage. I prefer them in upbeat punchy mode more so than their later moody works. Especially when they became way too self-conscious of who they were. Good memories.

Ownership: 1983 Island (LP). Slightly later US pressing (the first domestic release was 1981 incidentally).

12/2/21 (review)

12/2/21 (new entry)

2026 Fusion / Jazz Journal Vol. 2

Weather Report - Heavy Weather. 1997 Columbia Legacy (CD) (1977). This is Weather Report's most known and best selling album, one that I never truly connected with. Of course all copies I've found prior were commodity LP pressings, and usually in VG condition, which can be distracting. The 69 cent bin comes through again with this wonderful looking CD. Let's see if my viewpoint changes. The album opens with their trademark hit song 'Birdland'. This is a song we played when I was a stage band performer in high school. I didn't like it much then, and honestly, I still don't. It's too... happy I think. Something about it. The title is a misnomer as well, nothing heavy about the album whatsoever. My understanding is that Weather Report did not like to be associated with the fusion crowd, and of the albums I've heard, I have to agree with them. On Heavy Weather, the music veers closer to ECM, and even smooth jazz territory. If requested to choose a favorite track, I'd go with B2 or B4. I have yet to encounter a Weather Report album I feel compelled to keep, including their earlier avant garde works. But I'll keep trying, as I'm up for revisiting some as well as there's a few I missed altogether. (3/7)

*Kenji Mori Quintet - Firebird. 2020 Craftman / Three Blind Mice (CD) (1977). I picked this reissue up a few years ago, and had a relatively high rating on it, though recall nothing about the contents. The album starts off like a psych work though quickly gets into some boppy sax. Not really my style. The second track is Nino Rota's 'Time For Us', a pretty track that Mori's flute gives the Lloyd McNeill treatment, if not too comfortable and predictable. This leads to the two part title composition. The rhythm lays down a deep groove while Kazumi Watanabe solos on the guitar and Mori responds on recorder and sax. Nothing particularly incendiary from either though. The second half gives us a sunnier tropical feel with similar solo results. A solid entry, not really kozmigroov, not pure jazz, not fusion, but elements of all the above. I think I rated it a bit high though. Probably won't keep for the long haul but OK for now. (3/2)

*Bjorn J:Son Lindh - Ramadan. 1971 Metronome Sweden (LP). It was only a couple of years ago I revisited Cous Cous from my collection and, while it was enjoyable on an easy listening level, decided to let it go. I bought Ramadan at the same time, and presumed that it would be similar. I hadn't heard the album since acquiring it 25 years ago. I was pleasantly surprised to learn that the two are very different. Ramadan is much more funky and even progressive at times. I've always enjoyed Lindh's flute work, and the key ingredient here is Kenny Hakansson on guitar. He of Kebnekaise fame. Unlike Janne Schaefer, Hakansson brings a psychedelic flair to the proceedings. Though I wish he had an opportunity to light it up more. Three of the eight tracks are more acoustic in nature and these are the middle eastern themed compositions. Otherwise it's a fine kozmigroov funky flute extravaganza. A bit surprised this album doesn't have that much cachet. It's relatively inexpensive despite never having been reissued on CD. Regardless, I'm definitely holding onto this. Features a nice gatefold cover as well. (2/25)

* - Keeping for the collection