High Tide ~ England

Sea Shanties (1969)

High Tide's debut is arguably the heaviest album to be released up to that point in time, even predating the first Black Sabbath album. Perhaps Blue Cheer's Vincebus Eruptum comes first chronologically, though High Tide seems more professional. Tony Hill sets the amps to 11, while Simon House destroys his poor violin into oblivion. Like the first Stray album, the group's primary focus is on long and intense jams. There just wasn't anything else like this on the market, especially on a major label. Guess the execs thought it was worth a shot. Probably didn't work out commercially speaking, though clearly High Tide were leagues ahead of their time.

Unlike their second album, High Tide does appear to take the time to put together a composition or two, though it doesn't seem like they were patient enough to let them breathe before pummeling the listener with some more distortion. I love their sound and its relentless. I'm not sure anyone sticks around until the end, but the last track is truly complex progressive rock.

Ownership: 1994 Repertoire (CD). Booklet with liner notes. Acquired in 1996.

First copy: 1969 Liberty USA (LP). Gatefold. I'll get this one back eventually. May even splurge for the UK original. Sold it long ago when US commodity pressings like this weren't worth much. How times have changed. Acquired in 1988.

1988; 1996; 6/2/16; 8/7/26 (review)
 

High Tide (1970)

High Tide were a well known UK heavy primarily instrumental rock group with powerful guitar and violin leads. The Eclectic / Esoteric CD is a must own just to hear the near 16 minute 'The Great Universal Protection Racket', which was recorded with the same sessions as the others on the album and was a last minute cut due to time constraints. And it's as strong as the other material, maybe even a little better.

---5/22/26

For 1970 England, it was rather unusual for such long jamming sessions, especially on a major label. Tony Hill and Simon House are battling it out on guitar and violin with the rhythm section creating a racket behind them. This is at least a full year before the Krautrock movement got going in full force, and it's there that you might here this kind of unhinged ripping. Perhaps Amon Duul II was in this league by then, though I don't get the impression that High Tide were stoned out of their minds. It doesn't have the gravitas we hear from their neighbors. Blissful jamming I'd conclude. Vocals are an afterthought though they suit the music well. It's telling that High Tide never released a single in an era when that was expected.

There's more material on the bonus tracks than the album proper. Roughly 35 minutes, in fact. Though two of them are just different mixes (or takes). I mentioned 'The Great Universal Protection Racket' in my initial notes, and it does stand out. It feels more composed than the other three jams that made the album proper. Has more of a prog rock approach than psychedelic. Until they throw away the rule book about halfway through, and get back after it. 

After this you're likely to feel a bit exhausted, as the music is relentless without much of a breather. It appears the final bonus song 'Ice Age' was the last recording from the original incarnation of High Tide (not sure if it predates the Precious Cargo sessions). It definitely was more song focused. Would have been interesting to hear them develop this style further.

If psych jamming isn't your bag, then it's probably a good idea to steer well clear of this title. I think if one considers the era in which it was released, it's quite an extraordinary accomplishment. 

Ownership: 2006 Eclectic (CD). Booklet with a full history and photos. Contains four bonus tracks. Acquired in 2011.

First copy: 1994 Repertoire (CD). Acquired in 1994. 

1994; 7/26/11 (review); 5/22/26 (update)

Also own: Ancient Gates

Previously owned: The Reason of Success; The Flood

7/26/11 (new entry)

Procession ~ Italy

Frontiera (1972)

Procession's debut is one of those albums that help define what Italian progressive rock sounds like. Dynamic changes from acoustic guitar ballads with passionate singing to brutal hard rock, oftentimes within a few seconds. Histrionic vocals, dual guitars, occasional mellotron, ADHD rhythm section. Not that dissimilar from label mates Quella Vecchia Locanda minus the extended instrument palette. Most of these groups, had they come around 20 years later, would have likely been part of the prog metal movement. There's plenty of riffing and creativity to go around.

File next to other 1972 Italian heavy prog stalwarts like Il Rovescio Della Medaglia, Osanna, J.E.T., Raccomandata Ricevuto Ritorno, Jumbo, Garybaldi, Osage Tribe, and many others. If you're into the scene, you'll want this title too.

Ownership: 2009 Belle Antique (CD). Gatefold papersleeve. Comes with the "suitcase" handles that are usually missing on the original LP. Oddly it appears none of the LP reissues include the handles either. Acquired in 2010.

First copy: 1993 Vinyl Magic (CD). Acquired in 1995.

1995; 6/13/07; 4//10; 8/7/26 (review)

Also own: Fiaba

8/7/26 (new entry)

Santana ~ USA ~ San Francisco, California

One of the most influential guitarists in history, Carlos Santana assembled a high quality group of multicultural musicians. Coming from the Mission District of San Francisco, Santana was groundbreaking in many ways. But what really makes Carlos special is that he took his fame and fortune and made a go at high art. His "spiritual jazz rock" phase is nothing short of incredible, before settling back into corporate America. And mostly losing his way ever since. There's a religious metaphor in there I think. How ironic. More updates to come eventually.

Borboletta (1974)

---2007

Do you ever look at your shelf of music and see an album and say “you know, the next time I hear it I bet I’ll like it more than I did before?” Well, I bought this LP sometime in the 1980s and doubt I’ve heard it twice since then. Foreshadowing aside, yea I dug it big time. This was released at the tail end of his fusion phase, but there’s still plenty of that sound prevalent throughout. Sure, he’s introducing a slicker, more radio friendly sound here. But it’s not too bad on the whole – in fact some of the melodies are addictive. I think to properly enjoy this album, it’s best to hear Welcome first, rather than Lotus, or even further apart, the first three albums.

---8/7/26

Santana's 6th studio album is the end of line for his jazz rock phase. Unfortunately. As noted above, sure, Carlos was moving his group into more commercial waters. But he found a peak spot as he's turning the valve, and captures the best of all eras. The atmospheric pieces recall Abraxas, the vocal numbers hint at what's to come with Amigos / Festival (and follows similar with the Welcome album), and finally, the fiery fusion numbers where Carlos lets 'er rip on guitar. I find music like this very easy to listen to.

This phase of his career likely had to come to an end as it wasn't commercially viable for the tightening of the radio medium of the mid 70s through the 80s. Tragedy that.

Ownership: 1974 Columbia (LP). Lyric inner bag. Acquired in 1986.

1986; 2007 (review); 12/29/14; 7/16/16; 8/7/26 (update)

Carlos Santana & Buddy Miles - Live! (1972)

One of the more forgotten of Santana's releases is his collaboration with Buddy Miles for a January concert in Hawaii. It's here that you can really tell that Carlos Santana was hankering to dig deeper into his spiritual consciousness. And explore jazz at a deep level as well. There's still plenty of the Santana III rock band styled music here, but Caravanserai is on the horizon. For fans of that phase of his career, this album is pivotal and represents a key transition.

Ownership: 1972 Columbia (LP). With insert. Acquired in 2025.

4/30/25 (review)

Welcome (1973)

Welcome is Santana's 5th album and was released smack dab in the middle of his spiritual jazz rock phase. Along with Caravanserai, Love Devotion & Surrender, and Lotus, it almost defies belief that a major "pop" artist such as Santana would achieve such great heights with decidedly non-commercial music. Which is the primary gripe of the naysayers even today. Intense guitar heavy jamming is not for everyone, and it's understandable that he lost a good portion of his primary audience. My view is the polar opposite. The older I get the more I appreciate Santana and other artists who followed his way. Welcome is not only a jam heavy guitar and organ extravaganza, but it also features some beautiful songwriting. I love the Leon Thomas sung songs, completely at odds with the rest of the album, yet fits the elevated spirituality that was Carlos Santana in 1973. There's the obvious great with tracks like 'Flame-Sky' and the title track. And then there's the beautiful great with 'Love, Devotion, & Surrender', 'When I Look Into Your Eyes', and 'Light of Life'. They are not mutually exclusive. Yet another Santana album that gets a +1. For whatever reason I didn't buy this album back in college with the rest of them. My mistake as it's one of their best. 

The CD features one more great song ('Mantra') that is not to be missed.

Ownership: 2003 Columbia Legacy (CD). Booklet with liner notes and photos. One bonus track as noted above. Acquired in 2005.

2//05; 2/16/25 (review)

Beyond Appearances (1985)

I find it interesting that Carlos Santana never let go of his iconic psychedelic sound. He really could have been the tip of the spear at any kind renaissance of high quality psych and fusion in the 1980s. But he decided to play ball and follow the trends of the day. So most of the songs are boring, with cringeworthy 80s digitalitis sounds. ...and Carlos' beautiful tone when it's his turn. Oh well, he continued to stick with this formula, and it finally paid off for him commercially about 15 years later. 

Source: 1985 Columbia (LP)

7/31/24 (review)

Santana (1969)

The birth of the movement. Latin Rock remains one of my favorite subgenres of music, and I owe a ton of gratitude to a one Carlos Santana. A fantastic guitar player who had the vision to meld Hispanic culture with the ongoing psychedelic and hard rock movements. His group and extended family spawned many imitators, some maybe even better than anything Santana released. While Carlos deserves heaps of praise, the X-factor in the group has to be Gregg Rolie. His soulful voice, songwriting ability, and Hammond organ work is at the highest levels. The juxtaposition of bluesy hard rock soul numbers like 'Shades of Time', 'Evil Ways', 'Persuasion', 'Treat', and 'You Just Don't Care' against the percussive Latin rockers 'Waiting', 'Savor', 'Jingo', and 'Soul Sacrifice' is what makes the debut so special. Rolie was to Carlos what Roman Bunka was to Christian Burchard (Embryo). Taking a great band to a timeless one. Even though I've known this album for well for 40 years, I still managed a +1 listen out of it. It now resides in the very top tier.

Ownership: 

1969 Columbia (LP). 2 eye original. Acquired in 2026. First copy acquired in 1983 (the current pressing at the time).

1998 Columbia Legacy (CD). Liner notes and photos. Contains three bonus tracks taken from the Woodstock concert. Acquired in 2025.

1983; 6/13/16; 11/26/23 (review)

Festival (1977)

About a year ago I had a chance to revisit Moonflower to great results. Would I have a similar experience here? And the answer is a resounding yes. While it doesn't have a jaw dropper like 'Europa' (what does?), Festival is more consistent. The first three tracks are Santana at his absolute best, mixing in his purposely naïve view of the world with molten licks. And so it goes, with his usual mix of ethnic and harder rocking tracks. He pretty much let go of the funk that permeated Amigos. There are two tracks that are too Vegas-y for me 'Give Me Love' and 'The River', which still leaves 36 minutes of great music.

Ownership: 1977 Columbia (LP). Reacquired in 2021. First purchased in 1987.

1987; 8/9/21 (review)

Amigos (1976)

Funny about these albums sitting in the collection forever, that go back to childhood, and yet I couldn't tell you squat about it. I only kept the LP all these years because of 'Europa'. More on that one in a minute. What of the other six tracks, are they really that bad? No, not all actually. Well, save one.

'Dance Sister Dance' is a hybrid classic Santana Latin number with some creeping funk influence. The latter half of this song jams quite well. Which then segues nicely into the album's hidden gem 'Take Me With You', which sounds like early Santana ripping and roaring, until it puts the brakes on for a nice journey on The Love Boat. C'mon now, the girls are pretty and this is the perfect soundtrack. 'Let Me' isn't so bad really. Yes, it's got that Herbie Hancock Clavinet thing going and I could probably go without the "soul sista" chorus that were annoying even back then... and especially now. But Santana is there to lay down a killer lick or two, so it's OK.

'Gitano' is Amigos' contribution to Latin music. There are times when it seems it's about to take off into another killer jam, but it stays within the rails too much. 'Tell Me Are You Tired'. (OK, if you insist). This one is a bit too much funk pop for me, with more soul sista chorus, but not egregious on the whole.

This leads to 'Europa', which is just simply one of the most beautiful - and powerful - instrumentals ever committed to tape. Been hearing it for over 40 years, and I still get goosebumps throughout the entire song. Had it only been 20 minutes.... In any case this leads to...

'Let it Shine', the track that does everything in its power to desecrate the previous - that what was once holy and sacred. I mean I can deal with a little boogie woogie now and then, but seriously this is just plain awful. OK, let's just forget it ever happened. Nothing to see here.

And so with that - an album that is far better than I ever recalled. Glad I kept it.

Ownership: 1980s Columbia (LP). Acquired in 1989.

1989; 11/30/07; 9/21/18 (review)

Other albums I own: Abraxas; Santana III; Caravanserai; Love Devotion Surrender; Lotus; Moonflower; Live at the Fillmore 1968; Blues For Salvador; Santana Live

Previous owned: Inner Secrets; Marathon

9/21/18 (new entry)

Iron Maiden ~ England

A Matter Of Life And Death (2006)

As mentioned on The Final Frontier review, I feel like I'm hearing all of these "comeback" albums for the first time. Which is a good thing honestly. I won't rewrite the reviews below, as so many of my thoughts surrounding Iron Maiden have already been captured. More will come out from their 80s works (the ones I have yet to review) which are very special to me. These later works are all objective listens, and so I'll stick to that. Actually - one recent comment. A dear friend, who I grew up with and turned onto Maiden when we were in high school (1980), asked me recently if I was interested in seeing them play live. Nope, I said immediately. Want to preserve the memories and the time / place aspect. Don't need to see them now. No relevancy to my life as it stands today. Different era, different crowd. He agreed. But they were so important to us teens / early 20s back in the 80s. And I continue to treasure those moments.

The album opener is a somewhat perfunctory Iron Maiden track, patented galloping guitars, simplistic, and radio friendly. Seems they wanted to get that out of the way first, so they could get down to serious business on track 2). The first six songs here vacillate between their proggy ambitions and compact rocker stances. And honestly, some do go on longer than they should. The last four tracks, totalling about 34 minutes, shed their self-inflicted inhibitions, and go all in for their prog rock tendencies. We hear this often with Maiden in their post reunion efforts, and it's what makes all these albums so great. Hard to believe I'm reading reviews that the band were "coasting" during this era. One presumes they are listening to the whole album, not just the beginning. These guys are extending their abilities as far as they can, something they continued to do through recent times. Don't listen to a single naysayer. They're not plugged in properly.

A Matter Of Life And Death is yet another essential Iron Maiden album in a library full of them. These guys will be in future history books. Beyond music.

Ownership: 2006 EMI Argentina (CD). Booklet with lyrics, photos, and recording details. Acquired in 2011.

11/5/11; 9/1/15; 8/5/26 (review)
 

The Final Frontier (2010)

Already back into the Iron Maiden collection, very soon after documenting No Prayer for the Dying. Random but timely selection. As noted below, I haven't documented any of the Dickinson reunion albums save their latest Senjutsu. Looking at my database, I didn't get back into Iron Maiden until 2011. So I took a 21 year hiatus from the band after No Prayer. I then proceeded to buy all of their albums (on CD) from Brave New World through their latest at the time, which is the album I'm featuring here. To be honest, I feel like I'm hearing it for the first time, as little registered on initial impact (and a second listen four years later), other than I thoroughly enjoyed it.

The Final Frontier has a very unique opening. Mostly martial and synthesizer atmospheric, very un-Iron Maiden like until about midway through the track. I enjoy the deviation, if maybe a bit too long. Track 2 reintroduces us to the Maiden we all know and love. Galloping guitars (all three of them: Murray, Smith, and Gers) with Dickinson's piercing vocals. Harris and McBrain are always busy, moving the proceedings along at a brisk pace. 

On The Final Frontier, Iron Maiden uses the first five tracks to play to their "compact" side, and the later five to indulge their proggy tendencies. As mentioned on the Senjutsu review, I love that Maiden continues to push the envelope as they age. If you want to hear Iron Maiden in their creative mode, you could program out tracks 2 through 5, and experience a full album in that style.

Other than "The Iron Maiden sound" what else can I listen for? Memorable tracks, like the ones I recall almost verbatim from the 80s. As I listen carefully, I think it's the entire second half (to pick one, I'd go for 'Starblind'). Thinking through this further, if I heard Powerslave on a quick run through, I'd have little to recommend. But we played that album so much then, we knew every note back and forth. If I did similar here with The Final Frontier, I'd probably hold it at the same level. I suspect that many dyed-in-the-wool 80s Maiden fans (like myself) would come to a similar conclusion. But we don't listen to music that way anymore. Too many choices, not enough time. I'm enjoying my extended time with albums like The Final Frontier. Going back to my roots.

Ownership: 2010 UMe (CD). Booklet with lyrics, recording details, and "Eddie" artwork. Acquired in 2011.

7/25/11; 10/2/15; 10/20/25 (review)
 

No Prayer for the Dying (1990)

By 1990 my interest in Iron Maiden had waned. As I continued to burrow into the progressive rock underground, my only interest in metal was coming from the tech thrash side. Iron Maiden was from the old NWOBHM school, which had worn thin by then. I did like that Maiden were experimenting with prog more and more, yet it wasn't enough compared to what I was discovering from the 1970s European scene. And they weren't heavy enough either to draw my attention to them from a metal perspective. Despite all of this, I did go ahead and buy this LP not long after release. It would prove to be the only original Iron Maiden I let go out of the collection. And that was probably 30 years ago (1995). I also stopped here with the band, and ultimately dug back in on their post 2000 reunion albums some 21 years later. Much of which I still need to document.

It also seemed that Iron Maiden's interest in Iron Maiden had begun to wane by 1990. Second guitarist Adrian Smith had bolted and was replaced by Janick Gers. They seemed to be out of gas, and that their spectacular run of 1980s albums were over. Today, No Prayer for the Dying is by far the lowest rated Maiden album (on RYM at least) with Bruce Dickinson (or Paul Di'Anno) as vocalist. Though absurdly Senjutsu is not too much higher. See below for my thoughts under that LP's entry. In any case, a local buddy who gives me great deals on albums, had a newer reissue on hand. It was at a retail price, but I felt I owed him a bit, so why not try it again? If I don't like it, I can resell it for the same price and make my money back. It's been 30 years (at least) since I last heard the album. Is it really that bad? Much has changed in Genius Hans' world since 1990, when I was all of 25. Let's go in with an objective, other-side-of-the-mountain viewpoint.

As side 1 rolls on, it's easy to see why I had dismissed the album from the onset. The band had purposely moved back to a "simpler composition" style, never a good sign. That's ironic in that Maiden in its current form is going in the exact opposite direction, adding more complexity as they get older. Despite being more basic, their sound was also more lightweight. It's still metal, but on the border with hard rock. Seems the band were hedging their bet, and yet it was all the wrong choices for the times. Iron Maiden were trailblazers, the leading light, and here they aren't progressive, heavy, energetic, or particularly memorable. On this latter front, it's hard to discern the differences from cut to cut. The exception being the closer 'Mother Russia', which I recall being the only track I really liked initially.

To my initial question - is it really so bad? Oh heavens no. My rating was entirely too low, based on the emotional state of the time. Somewhere along the line I went from "it's OK" to "it blows". That is certainly not the case. The group sounds on point actually, and the newly paired guitarists are playing some nice unison lines. Harris and McBrain are also in top form from a rhythmic perspective. Only Dickinson doesn't sound right, primarily because he was asked to reign in his air-raid siren voice for something more direct and raspy. Bad decision especially considering that's one of the defining characteristics of the Iron Maiden sound, post Di'Anno. In conclusion, I am now a full 1.5 stars ahead of where I stood years ago. I do think it's a good album, not a toss away effort.

Even with the apologist stance, I would still rate this as the lowest of the Iron Maiden albums I've heard. I did miss out entirely on the rest of the 1990 decade, and I know the Bayley albums aren't held in high esteem. Nonetheless I have since picked up two of the three I was missing from that time period (still haven't heard them), and I'm sure I'll find the other. See the bottom of this post for what I still need to review.

Ownership: 2017 Sanctuary (LP). Lyric inner bag. Acquired in 2025. 

First copy: 1990 Epic (LP). Acquired in 1990.

1990; 1995; 9/27/25 (review)

Somewhere In Time (1986)

As noted often here, I was a big fan of Iron Maiden real time, so all of their albums from the 80s have a special place in my heart. I bought this LP when it came out in my senior year of college, and I saw them live in January of '87 in Lubbock. I found the ticket stub the other day. Considering that Powerslave was burned deep into my DNA, any album coming after that would be tough to absorb. But Somewhere In Time is a great follow up. RYM has it as their 4th highest rated behind their two recognized masterpieces: Powerslave and Number of the Beast. Seventh Son gets the 3rd spot, but I would beg to differ. I'd probably place the debut and Piece of Mind higher myself, but we're splitting hairs at this point. Generally I read that Somewhere In Time is where they embraced synthesizers. I suppose so... but Iron Maiden were always proggers at heart, something I find myself repeating often in these pages. Somewhere In Time is the first Maiden album that I didn't listen to incessantly upon release, as I was very heavy into the 70s European underground by this point in my life. Which in a way is good, as I can still experience musical discoveries here. The Sanctuary CD offers bonus videos. I should actually watch those some day.

Ownership: 

1986 Capitol (LP). Acquired in 1986.

2002 Sanctuary (CD). With video. Acquired in 2006.

1986 Capitol (MC). Acquired in 2026.

1986; 1//06; 8/17/15; 10/23/24 (review)

Senjutsu (2021)

It's nigh impossible to limit the superlatives when talking Iron Maiden. There's really no precedent of a band who has remained true to their sound for 41+ years and continues to evolve and grow in a positive manner. These guys are well into their 60s now, and every album they release is as if they were still in the middle 1980s pushing the boundaries of what heavy metal can potentially be. Most groups with the stature of Iron Maiden would go on to release a perfunctory new album with ten forgettable three to four minute run throughs, then hit the road, and play all the fan favorites from 35 years ago. Not Iron Maiden. How about a triple album with 10 minute plus involved tracks with fun light reading names such as 'Death of the Celts' and 'The Parchment'? And they're so spoiled they have everybody do things for them. Ya know, like singer Bruce Dickinson flying their own 747 around the globe. Who does these things? Whatever the question or challenge, Iron Maiden wins. And yet on forums such as RYM, Iron Maiden is put through the ringer by those much younger with zero perspective. Yes, of course Iron Maiden were never the heaviest - or fastest - or most complex band ever. They are just simply the best at what they did (and do). They are legends in their own time, and that will only grow as the centuries roll on.

As for their 17th album Senjutsu, Iron Maiden continues to bring it. This isn't easy listening metal. And no there isn't anything particularly catchy about it. No different than the prog albums we adore and champion. Iron Maiden is not the latter, but is clearly influenced by the genre, and they make no bones about it either. 82 minutes is a lot to absorb, but if in a patient mood, the listener is rewarded (i.e. I've had this album sitting in the new arrivals box for over six months and just now getting to it). These are albums that are designed to outlive the band. 50 years from now, new serious young minds will want to go beyond whatever is their pop du jour, and tackle something more challenging. Iron Maiden will be one of the early bands they will learn about. On my first listen to the album, I played the first two LPs, and then flipped the 3rd one back and forth for three listens each. Not that I liked it any more than the prior material, it just seemed like a good way to appreciate the album. Honestly I couldn't tell you too much about their Version 3.0 albums starting with Brave New World (2000). This era of the band has far outlasted any other, and all their albums are consistently great. I know their 80s work far better, because I grew up with them - listened to the albums constantly - saw them live a few times - even played soccer with them. They were a huge part of my high school and college years. A soundtrack perhaps. My life post-2000 has been completely different, so I don't relate to Iron Maiden's new music in the same way. But what I do know is that every revisit will seem like I'm hearing a brand new excellent album by Iron Maiden. And that's the exciting part of music such as this.

Ownership: 2021 BMG (3xLP). Triple gatefold. Red and black marble vinyl. Acquired in 2022.

9/4/22 (review)

Iron Maiden (1980)

Iron Maiden's debut actually predicts their future better than the follow up, Killers. 'Remember Tomorrow', 'Transylvania', 'Iron Maiden', and especially 'Phantom of the Opera' are overtly proggy, while 'Strange World' is a fine ballad. The opening 'Prowler' has a strange psychedelic aura about it, though with Di'Anno singing, you're always closer to punk than psych. One track that I've always had near the top - but is widely panned by fans - is 'Charlotte the Harlot'. Despite the rather dumb subject matter, the track features some nice mood changes, and the blistering dual guitar solos coming out of the last break, are some the most pointed and fierce of their entire career. The US version adds 'Sanctuary', a mid-level song that foreshadows Killers. The only track I can do without is 'Running Free'. Iron Maiden are huge English soccer fans, and they had a tendency to slip in a "football styled" anthem every once in awhile, similar to Judas Priest in that way.

Anyway, brilliant album. You already knew that... presumably.

This came out when I was 15, so it's likely my mom took me to the record shop to buy (and it is this exact copy). Just makes me laugh when I think about it. Incidentally, she's still alive and kicking strong. 81 and as feisty as ever. Lives independently in an apartment about 10 minutes from our home here in Colorado. She'd lived in Texas for 51 years straight, so it was quite a change for her. I remind her that she's responsible for my dementia in music. We just crack up. If Mom had it her way, I'd be singing church hymns instead. On another side note, the cover of Eddie here looked like one of our neighbors back in Texas. I digress. 

Ownership: 

1980 Harvest (LP). Acquired in 1980.

1988 Capitol (CD). Acquired in 1990.

1980s Capitol (MC). Acquired in 2024.

1980; 4/28/20 (review) 

Killers (1981)

Definitely the most straightforward of the Iron Maiden albums. The band were at the crossroads here of raw heavy metal and the more elaborate composition style band leader Steve Harris seemed to prefer. Paul di'Anno was always more suited to be a punk rock singer, and the music here fits his style perfectly. That's not to say the music here isn't complex, often times it is, just more compact. Especially on Side 1 with 'Wrathchild', 'Murders in the Rue Morgue', and the instrumental 'Genghis Khan'. Eventually, though, Harris followed his instincts and recruited from fellow NWOBHM band Samson - the Renaissance Man known as Bruce Dickinson - and thus Iron Maiden were guaranteed their place in music history.

On a personal note, I had the privilege of seeing the band on the Killers tour during the summer in my hometown. I still have the ticket stub: June 13, 1981 at Moody Coliseum (Dallas - SMU campus). I was all of 16 and drove another high school buddy there in my old 1973 Chevy Impala. It was originally a three band bill with Iron Maiden opening, Humble Pie, and Judas Priest headlining. An unusual pairing, and I'm sure the promoters felt they needed Humble Pie to help fill the arenas, as heavy metal wasn't really that popular yet here in the States. Right before the show was to begin, we received an announcement that Humbie Pie had to cancel last minute due to an illness. The guy next to me was pissed! And we were elated - what a break! These were the two bands we wanted to see. So we got extended sets from each. I saw Maiden a few times after this with Dickinson, but it was great to see and hear them with Di'Anno this one time.

Ownership: 

1981 Harvest (LP). Acquired in 1981.

1988 Capitol (CD). Acquired in 1990.

1981; 5/24/12; 8/19/15; 4/22/20 (review)

Also own: Number of the Beast; Piece of Mind; Powerslave; Live After Death; Seventh Son of a Seventh Son; Fear of the Dark; Virtual XI; Brave New World; Dance of Death; The Book of Souls

4/22/20 (new entry)

Nathan Mahl ~ Canada ~ Ottawa, Ontario

Heretik Volume 1: Body of Accusations (2000)

As noted in the The Clever Use of Shadows review, I was an early adopter to the progressive rock sounds of Nathan Mahl. So when Heretik Vol. 1 showed up, I picked up a copy relatively not long after release. I was very pleased with the contents, shelved, and then subsequently ignored the band for many years. I really don't remember the circumstances as to why I did this, though I suspect I was already becoming cognizant of the "too much of the same thing" phenomena that plagued me for years. It was only later in their career that I reacquainted myself with Nathan Mahl. By then I wasn't too keen on their move to a more modern type of progressive rock, that I largely rejected as a whole. My review of Justify, well, justifies my position. Because of this, I never went back to the second and third part of the Heretik series. While I'll continue to make no serious effort to do so, if I ever do get a chance to nab them on the fly, I'll be happy to check them out.

And that's because Heretik Vol. 1 remains a thoroughly enjoyable listen. The album is chock full of old school prog, and it's Guy LeBlanc's keyboards, both analog and digital, that carry the day. The 70s influences are undeniable, mostly from the bigger name UK prog stars from Yes to Genesis to, especially, Camel. The latter group he was to join in the same year. Not to take away from Mark Spenard's guitar work, which is also noticeably strong. Vocals are a weak point here, delivered by LeBlanc, though they are hardly dominant and the album is primarily instrumental. I do agree vocals are necessary for the purposes of flow and sound differentiation. But a more dynamic singer is needed for the complex compositions. I remember discussions "back in the day" (as in 2001) complaining about the drumming (back then all the prog fans complained - about everything it seemed - which is why I dropped out of the "community"). It's my understanding that LeBlanc had to step in last minute for this duty as well. I think he did an admirable job, and no concerns from me. Keeper this one is.

Ownership: 2000 Mahl (CD). Booklet with lyrics. Acquired in 2001.

2001; 2009; 3/9/13; 8/5/26 (review)
 

The Clever Use of Shadows (1998)

I've always liked Nathan Mahl - or at least the early albums. To this day I think Parallel Eccentricities is one of the hidden gems of the early 80s. After that album it seemed Nathan Mahl were a thing of the past. Which is why I remember being quite pleasantly surprised to hear LeBlanc resurface first with Mahl Dynasty and then again with Nathan Mahl. The Clever Use of Shadows was a great comeback, and due to its relative popularity, Nathan Mahl were to be a fixture of the progressive rock scene throughout the 2000 decade. Like the Odessa album I just commented on, The Clever Use of Shadows is yet another album buried in my collection that I couldn't recall anything about, and yes, it's been about 21 years since I last heard it. But this past week's listen put a smile on my face, and reinforced why I enjoy so much their first two albums. The compositions are dense, yet very melodic. It's mostly instrumental, but never showboaty, repetitive, or dull. Not an easy thing to accomplish, considering most instrumental prog is just that. Guy LeBlanc is no longer with us, but his musical legacy will be around for many years to come, as new generations will discover the quality within.

Ownership: 1998 Mahl (CD). Liners from Guy LeBlanc detailing each track. Acquired in 1999.

1999; 5/10/20 (review)

Justify (2014)

Nathan Mahl's latest album is a mix of instrumental heavy fusion and song oriented rock. The fusion tracks are all impressive in their sound textures and technical acumen, but seem nothing more than a skeleton structure for showboating solos. There's not much in the songwriting department I'm afraid to say. Meanwhile the vocal cuts are of the modern variety with annoying emotive vocals, and boom-boom-bash drumming - all over a slick-as-a-butter-dish synthesized production base. These vocal tracks really pull Nathan Mahl away from what they do best. Not a bad album at all, but disappointing for a band with a legacy such as Nathan Mahl had.

Former ownership: 2014 Unicorn Digital (CD). Acquired in 2014.

8/14/14 (review)

Other albums I own: Parallel Eccentricities

Albums previously owned: Exodus

5/10/20 (new entry)

Head Pop Up ~ Japan

Tokusen Burari Tabi (2002)

Had I known this was a substandard cd-r when purchasing, I would have not ordered it. However in this case, I'm glad I did. Because I would have otherwise missed out on a wonderful, mostly instrumental, progressive fusion. The first lengthy cut reminds me very much of the Dutch prog rock scene circa 1973. Pantheon in particular comes to mind. Track 2) is named 'Metempsychosis' though it has no relation to the Far East Family Band song. Track 5) directly references Banco Del Mutuo Soccorso's debut, and is arguably the highlight of the album. 

Throughout, the keyboard sounds seem to indicate a retro type release, though I suspect both the organ and mellotron are sampled. Nonetheless the spirit remains. The electric guitar possesses a sharp 70s styled acidic tone. 

There is a jazzy pop undertone found here that is very appealing, reflecting the culture of Tokyo's Shibuya district. The music is also highly complex, and when combined with the sentence prior, the album gives off more than a whiff of the Canterbury scene. Multiple themes are introduced with each track, just as the masters like Moving Gelatine Plates would do, though they don't sound similar otherwise. In addition, there are references to the Japanese variation of Zeuhl, when in a less serious, playful mood. The 80's Japanese prog rock renaissance also plays a role here, especially noted in the 22 minute live recording that closes the album. Mr. Sirius is but one group reference.

Too bad Head Pop Up did not release anything else. Their style is very much in step with my personal preferences in the prog rock genre.

Speaking of a personal note, I started journaling my listens (or at least attempted to do so) in early 2004. Tokusen Burari Tabi was the very last album I'd acquired before I started that journey. 22+ years later, I finally returned to accomplish that task.

Ownership: 2002 Poseidon (cdr). Commercial CD styled booklet with recording details and photos. Acquired in 2004.

1//04; 6/13/06; 8/4/26 (review)

2026 Revisits of prior UMR entries Vol. 8

Eider Stellaire (1981)

Berits Halsband (1975)

T. Inomata & Sound L.T.D - Sounds of Sound L.T.D.

Tarot - The Warrior's Spell

Free System Projekt  - Moyland

Pleasure - Future Now

Blue Oyster Cult - The Revolution By Night

Snakes Alive (1975)

Opa - Goldenwings

Dillinger - Don't Lie To The Band

Heldon / Richard Pinhas ~ France

Interface (1977)

---2006

If there’s a Heldon album that is quintessential, it’s Interface. It may not be their best (that would be the last one Stand By IMO), but it’s close and it represents all facets of their sound at their peak. The violent guitar of ‘Jet Girl Part II: In South Bronx’ represents the harsh bleakness of Pinhas’ sound more than anywhere in the discography

---7/31/26

And now we finally close off documenting my collection of the classic seven album run of Heldon. I'm not entirely sure where Interface fits in my initial foray into the Heldon catalog, but I think it was second after Agneta Nilsson. That one came at the beginning of 1986. This would have been the same time, one year later. My documentation back then was haphazard at best, and some of the dates have been retrofitted based on memory (though it was long ago I did this). But for certain Interface was the album that sealed my love for Heldon. I still get goosebumps listening to 'Jet Girl'. In fact, let's talk about that.

After an energetic Moog, bass, and drums opener, the nightmare begins. If 'Stand By' is the ultimate blistering guitar trio attack, the two part 'Jet Girl' represents Pinhas at his most anguished. The guitar sound is unreal. This track just exudes intensity and anger. The title is irony at its best. Part 1 is 'New York or Paris, Equivalent'. Hardly a soundtrack to a skipping young lady's birthday party. 'In South Bronx' slows it down to a heavy burn. Scorched Earth. One imagines Professor Pinhas wandering the unlit streets of the South Bronx, which would have been a treacherous thing to do, especially in the 70s. But being the ultimate subversive, one presumes he could care less.

A4 is the same lineup and approach as A1. This time even more energetic, with some very fine keyboard soloing. A5 starts off experimental, but it doesn't take long before you're immersed in the swirling keyboard sounds. Francois Auger was such a perfect drummer for Heldon. Like Klaus Krueger with Edgar Froese, he really accelerates the pace of everything he's on. A5 closes off Side 1 with the same motif as A1 and A3, except this time Pinhas lets it rip hard on his 1954 Gibson Les Paul.

That sets us up for the 19 minute title track. Buckle up kids, time to get serious! After eight minutes of tribal drumming, echoed found sounds, and Moog sequences, you know what's coming right? Oh yea, Pinhas starts off in full sustain mode, and he's ready to blow your head off. Which he subsequently does. Heavy guitar at its finest. It's not prog rocky like Stand By, more like unrelenting madness. You will be exhausted if you are at all paying attention.

The CD adds 8:30 minutes worth of 'Interface' recorded live at La Palace, Paris, 1978. I'm not one to often say "I wish I was there.". But, you know, I wish I was there.

For those of you who have known me for any length of time, then you'll also know that this album cover is my avatar. There are many reasons for that, but I often feel like I'm that thing / person. An alien lost in this world. Note the match on the helmet. What does that signify? For debate.

Ownership: 

1977 Cobra (LP). Gatefold. Acquired in 1987.

2005 Captain Trip (CD). Papersleeve gatefold. Comes with an insert with recording details. Another insert with two photos, including his most iconic: Pinhas standing in front of his big Moog with a bank of knobs, looking cold and angry, with a cigarette between his fingers. And a poster of Interface behind him. Also includes two live bonus tracks as noted above. I also own the Japanese promo box, which houses four of these titles, and features this cover.

Hi Eric! :-)

1987; 2006; 7/31/26 (review)

 

Un Rêve Sans Conséquence Spéciale (1976)

This is Heldon's 5th album and the first to feel more like a band effort than a Richard Pinhas solo work. Not surprisingly, we see Heldon's ratings start to go up at this point as well. The nearly 12 minute opener does not mince its sound. It's a crushing assault of your senses with raging guitar and synthesizers. Francois Auger is now on board to provide the key ingredient of rock styled drums. After such a powerful opening, Heldon reverts to a weird hybrid electronic track with Pinhas on the Moog, and Auger providing a lot of percussion. It's a new sound for them. B1 is a thick and muddy electronic number with pounding drums and added bass. The 15 minute 'Toward The Red Line' closes the album. Now doesn't that sound promising? This track could be seen as the upward ramp from 'Baader-Meinhof Blues' to 'Stand By'. It possesses the former's absolute bonkers Moog sequencing. From the latter comes the power trio aspect with Pinhas' fiery 1954 Les Paul guitar leading the way. Along for the ride is Magma's Jannick Top on bass while Auger goes crazy on the drum kit. Heck yea.

Really hard to imagine the American based jazz fusion label Inner City thought Heldon would be a big seller over here. Almost as crazy as A&M signing up Magma for two albums. At least Inner City could cut bait after only one.

The bonus tracks on the CD are not to be missed. They are labeled Live 1978, so I don't think they are the same as what was on the Perspectives compilation. 'Perspective 4ter MUCO' isn't on any other Heldon archival release. It may just have a unique name. But it's a banger of a track, capturing Heldon in full power trio mode. 'Marie Virginie C.' has been represented live prior (the aforementioned Perspectives), though this is from one year later. It's faithful to the original from the album proper, and will light your stereo in flames.

Ownership: 

1976 Cobra (LP). Acquired in 2011.

2005 Captain Trip (CD). Papersleeve with two inserts and two bonus tracks (one more than the US reissue). Acquired in 2006.

First copy: 1977 Inner City (LP). Acquired in 1987.

1987; 2006; 6/4/26 (new entry)
 

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

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

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

Ownership: 

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

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

1992; 2006; 4/27/26 (review)
 

Stand By (1979)

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

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

Ownership:

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

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

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

Agneta Nilsson (1976)

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

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

Ownership: 

1976 Urus (LP). Acquired in 1986.

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

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

Rhizosphere (1977)

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

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

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

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

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

Single Collection (1972-1980 / 2006)

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

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

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

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

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

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

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

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

5/18/21 (review)

Iceland (1979)

As one can probably guess by knowing nothing more than my avatar, I'm a huge Heldon fan. They were one of my initial discoveries when first digging deep into the European underground of the 70s. It was January 1986 and I was all of 21, at quite the impressionable age I might add. So Heldon is one of those bands that helped shaped my tastes in music for the future.

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

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

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

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

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

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

Chronolyse (1978)

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

Ownership: 

1978 Cobra (LP). Acquired in 1991.

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

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

L'Ethique (1982)

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

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

Ownership: 

1982 Pulse (LP). Acquired in 1986.

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

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

Allez-Teia (1975)

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

Ownership: 

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

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

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

Electronique Guerilla (1974)

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

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

Ownership: 

1975 Urus (LP). Acquired in 1987.

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

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

Also own: Fossil Culture (with Peter Frohmader)

2/10/10 (new entry)

Banco del Mutuo Soccorso ~ Italy

Darwin! (1972)

The middle album in Banco del Mutuo Soccorso's incredible three album start, many consider Darwin! the best of the lot. I've long held the opposite view, though by no means is that a condemnation. I think it's an excellent album with the others, but not quite at the same level. Today I'm going to dig into why I might think that. Or have a change of mind.

The stylistic brush is wider here than the other two albums. Some of the compositions seem odd for Francesco di Giacomo's operatic voice. It's a bit showtooney. Hard to explain but you hear this peculiarity on A1 and B2 in particular. I picture him dancing with a cane in hand during these sections. Which is not Banco DMS - at all. If looking for a song that befits his incredible voice, B3 would be a good example. And is arguably the best cut here.

What separates this album is the lack of that one great track. The opener of Io Sono Nato Libero is a stunner that leaves one speechless. Their debut has three brilliant pieces as noted below. Saying that, Darwin! definitely brings the goods, primarily with the keyboard breaks.The final two tracks are more experimental in nature. I'm beginning to think I might enjoy Come in un'Ultima Cena a little better at this stage. Regardless, still an essential album in any Italian prog rock collection.

Ownership: 1972 Ricordi (LP). Gatefold with lyric inner bag. Acquired in 1989.

1989; 2004; 11/21/15; 7/31/26 (review)
 

Banco del Mutuo Soccorso (1972)

The debut album by one of the pillars of the Italian progressive rock movement. As good as advertised, Banco DMS brings out all the elements that made them so stellar: Dual keyboards, heavy guitars, complex rhythms, and the operatic male vocals sung in glorious Italian. Highlights include long time favorites such as 'R.I.P', 'Metamorfosi', and the lengthy 'Il Giardino del Mago'. For my tastes, this comes in second place to the almighty Io Sono Nato Libero. Table stakes for any progressive rock collection.

Ownership:

1972 Ricordi (LP). Piggy bank shaped cover. Crazy packaging and difficult to store. I have it on a night stand laying flat by itself. Acquired in 2000. 

1972 Ricordi (LP). Gatefold. Acquired in 1988.

2003 BMG Japan (CD). Papersleeve edition that mimics the original piggy back design. Acquired in 2003.

12//88; 2003; 1/9/24 (review)

Garofano Rosso (1976)

The odd album out in the Banco del Mutuo Soccorso canon, though they were to repeat it again on Di Terra. That is, this is Banco without vocals. Francesco di Giacomo is such an integral part of the band, it doesn't seem possible to hear the music without him. And he's still a member, being credited here with "documentazione". The music (a soundtrack to an Italian TV series) is still patently Banco DMS, though they're changing with the times and adding more jazzy elements to their sound. The Nocenzi brothers continue to lead the band with their organs, pianos, and synthesizers ripping away. You'll hear some familiar themes from past albums as well. The music isn't as edgy or as epic as their earlier efforts, but taken on its own account, Garofano Rosso is a fine listen.

Ownership: 1976 Manticore (LP). Textured sleeve. Acquired in 2021.

First copy: 1979 Ricordi (LP). Acquired in 1991.

1991; 9/17/16; 12/26/21 (review)

Io Sono Nato Libero (1973)

After two remarkable albums to start their career, could Banco del Mutuo Succorso maintain the momentum for a 3rd? The answer is a resounding YES. The sextet possessed so much talent, in both instrumentation and composition, it seemed that their imagination was endless. But the heroes of the band remain the Nocenzi brothers, who bring an arsenal of vintage keyboards, along with the latest in synthesizer technology. They play off each other as only two brothers could - each knowing what the other is thinking before they think it themselves. If I had to pick just one song from Banco's canon, it would be Io Sono Nato Libero's opener 'Canto Nomade per un Prigioniero Politico' which packs a wallop, and goes in dozens of different directions. Giacomo's powerful operatic voice sends the message home, that yes, we are born free! To take this even further, when someone asks me to play one representative of Italian prog, this is the track I pull out. The album doesn't stop there, as Banco mixes melody, complex instrumental sections, intense passion, and immense creativity. For my tastes, Io Sono Nato Libero is the best Banco has to offer, and considering the stiff competition, that's quite an achievement.

Ownership: 

1973 Ricordi (LP). Rounded corner sleeve with a booklet in the same shape stapled inside. Acquired in 2000.

2003 BMG Japan (CD). Papersleeve. Replicates the above cover. Acquired in 2006.

First copy: 1978 Ricordi (LP). Acquired in 1989.

1989; 2000; 2006; 8/25/21 (review)

Transiberiana (2019)

Banco del Mutuo Succorso would be a good example of my concept of "bands as brands". With charismatic opera styled singer Francesco di Giacomo and long time guitarist Rodolfo Maltese no longer with us, there's no chance for a true reunion. In addition, the original rhythm section is nowhere to be found. And finally, brother Gianni Nocenzi hasn't been with the band for some 35 years. That leaves only keyboardist Vittorio Nocenzi carrying the torch. In tow are five new members, each talented in their own right. So if Banco were to remain an functioning entity, it could very well do so even if V. Nocenzi can no longer participate, or even want to.

This prelude is poignant with Banco del Mutuo Succorso because Transiberiana lays out a blueprint for the future, not a retread of the past. When looking at the history of the band, they were leaders of the original Italian prog movement, and their records in this style spanned only six to seven years. Which for a typical Italian prog band is a lifetime of records, but from a chronological standpoint, it's a very small period of time. Then "Banco" became a pop band throughout the 80s. They returned to participate in the 90s progressive rock renaissance, but mainly as a live act mostly recreating the past. As for new music, nothing special ever surfaced. Their highest rated albums are simply new recordings of past compositions.

Until now. Transiberiana has all the earmarks of the past, including the depth of composition, the talent of the musicians, and those oh-so-critical turn-on-a-dime musical breaks. This is the music of 1973 Banco del Mutuo Succorso moved up 46 years. It sounds every bit like an album from 2019, and the new members bring many contemporary influences to the table. It's up to Nocenzi to school the others on what it's like to be a part of the legacy that is Banco del Mutuo Succorso. And he's done a great job at that, and one gets the sense the band could continue in this vein for many years - evolving the brand as it were. Is this the best Banco album? No. It would be nigh impossible to beat their trio of original albums, perhaps the greatest three album run in history. And Come in un'Ultima Cena is another tough one to top. But their best album in the last 42 years? Yes, most assuredly it is!

Ownership: 2019 Sony / InsideOut (CD). Digibook. Comes with a 44 page booklet, though much is duplicated in English from the original Italian. Acquired in 2020.

7/16/20 (review)

Come in un'Ultima Cena (1976)

Banco del Mutuo Succorso started their career with what many consider the greatest three album run in all of Italy, and one could argue for progressive rock in general, competing mightily against the likes of Genesis and Yes. Then silence. 1974 blew by, and 1975 saw only the requisite might-break-in-the-States-probably-not English language album, that featured unique arrangements, but a bit watered down from the massive beasts they opened with. By 1976, Banco confusingly released an all instrumental soundtrack album, that has little to do with their namesake. And finally we get to Come in un'Ultima Cena, their true follow up to Io Sono Nato Libero. Since they were still signed with Manticore, the band were obligated to do a co-release in English (As in a Last Supper). Nevertheless, that version didn't see an English language country release (until 2010!), having been dumped into Germany as an afterthought. And so this was the last hurrah for the classic Banco del Mutuo Succorso as we knew them. They had one more fantastic instrumental album left in them (Di Terra) and off the pop cliff they went, only to return during the prog revival years. But they were broken.

This premise leads to the album itself. It's important to understand the background from which Banco entered into this recording. And let's not forget the 1976 landscape in general, where progressive rock in Italy were in their last throes of survival. And that provides the story here. This is Banco neutered and ready for a domiciled life. No more hunting in the wilds for their food. Once that premise has been accepted, then the album can now enter your stereo for a proper listen. It's the name Banco del Mutuo Succorso that usually holds this album back. But a careful listen on its own, demonstrates the same intense progressive rock composition style. Di Giacomo is also in fine form here, perhaps a bit more strained than prior. But the edge of the instrumentation is gone, along with the youthful exuberance. It's progressive rock by professionals. Which means, it's an excellent album throughout. And yet, you know they can do better. My rating reflects more an objective viewpoint in this case, rather than my usual subjectivity. I owe them that.

Ownership: 1976 Manticore (LP). Comes with a 16 page booklet. Reacquired in 2017. First purchased in 1996.

1996; 3/4/17 (review); 4/16/23

Also own: Di Terra; Canto di Primavera

Once owned: Capolinea; Da Qui Messere Si Domina La Valle

3/4/17 (new entry)