Santana (& related) ~ 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.

Devadip Carlos Santana - Oneness (Silver Dreams~Golden Reality) (1979)

Here's an album that no one really talks about, and I can honestly say I'd never heard it until this afternoon. Found it in the budget bin at a local record store, so why not see what it's all about. I've seen it plenty of times, especially back in the 80s, but I just presumed it was... well I'm not sure what I thought it was. Religious? Acoustic? Indian? Turns out it's a throwback to his spiritually enlightened era of 1972 to 1974. There's a couple of lounge / crooners mixed in here, but mostly this is Santana's jazz rock phase evolving into the late 70s jazz fusion world. Best of all is that Carlos lights it up in many places with that delicious tone that he never let go of.

Ownership: 1979 Columbia (LP). Acquired in 2026.

11/13/26 (review)

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 the 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)

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

Previously owned: Inner Secrets; Marathon

9/21/18 (new entry)

Mike Oldfield ~ England

Discovery (1984)

I discuss my history with Oldfield on both the Hergest Ridge and Crises albums below, so I won't cover that here. What's important to note is that Discovery was the first new album that I had a chance to purchase real time, and I decided to pass. The reviews gave me pause, and it wasn't until many years later that I finally heard it. And, not surprisingly, I wasn't very impressed.

As noted on the Crises review, my interest in Oldfield's more pop oriented works are more welcoming to me now. Found this cheap at a recent estate sale, so let's give it another try. The question then becomes did Discovery go too far down the commercial well, or will I have another enlightened moment?

The production is boxy 80s all the way. Oldfield does bring some fine guitar only to be let down with Barry Palmer's sub-MTV styled singing. Maggie Reilly's voice is far more pleasing. The long track allows Oldfield to maintain his progressive rock legacy, though the production here is the kill shot. Better than I remembered but faraway from collection status.

1984 Virgin Germany (LP)

11/13/26 (review)
 

QE2 (1980)

All these years later, and I still hadn't heard QE2 from Mike Oldfield. By the time I was out of college, I'd heard the rest save Platinum. That latter album ties closest to QE2. Even though I really enjoy Oldfield's next two works Five Miles Out and Crises, both also a mix of long and short form tracks, I don't hear the same kind of inspired writing on QE2, similar to my reaction to Platinum. OK, I've now heard it and I've completed my Oldfield run. Though I do need to revisit Incantations, which has been sitting in the listening box for about three years now. (Jun).

1980 Virgin UK (LP)

6/15/25 (review)

Ommadawn (1975)

Another one of those records I've had since the beginning of time (my time of course...). This is one of those albums I keep expecting to go to the next level but it never quite does. Here Oldfield is playing on familiar English and Celtic countryside themes similar to Hergest Ridge, with one track taking up both sides, but lacks the wild climax that album possesses. A very fine LP nonetheless.

Ownership: Virgin UK (LP). Red and green labels, likely from the early 80s. Acquired in 1985.

1985; 2/3/23 (review)

Five Miles Out (1982)

Last year I wrote the following about my rediscovery of Crises (edited for relevancy): 

I was on a Mike Oldfield kick in college, and this one was his newest album at the time... Back then I was looking for more and more underground prog rock, and Crises to me at that time was only half an album. Eventually I moved it out. In reacquiring the LP, I could almost argue the same thing - except the half I like best today are the 6 tracks that make up Side 1. In fact, in absorbing the album with 3 straight listens, I could be persuaded to add Crises to my X-Wave collection versus progressive rock. Of course Oldfield is considered prog rock royalty and he brought on many guests for this album, most from that world... Overall, this resulted in a +3 listen. It won't be long before I find Five Miles Out I'm sure...

---

And that day has arrived. Every single thing I said above applies here. From the +3 listen(s) - to the shorter tracks being more preferable than the side-longer - to the special guests - to the argument that this could be an X-Wave album versus prog. If you like one you will like the other. Glad to have it back.

Ownership: 1982 Epic (LP). Gatefold. First acquired in 1984. Reacquired in 2023.

1984; 3/22/23 (review)

Crises (1983)

I was on a Mike Oldfield kick in college, and this one was his newest album at the time, though Discovery may have just hit the shelves, can't remember. Back then I was looking for more and more underground prog rock, and Crises to me at that time was only half an album. Eventually I moved it out. In reacquiring the LP, I could almost argue the same thing - except the half I like best today are the six tracks (see below for details on this) that make up Side 1. In fact, in absorbing the album with three straight listens, I could be persuaded to add Crises to my X-Wave collection versus progressive rock. Of course Oldfield is considered prog rock royalty and he brought on many guests for this album, most from that world. I think the best track here is the ultra catchy 'Foreign Affair' followed closely by 'In High Places'. Concerning the latter, this is the type of setup that best highlights Jon Anderson's voice. And yes, the side longer does possess a strong progressive rock component. Overall, this resulted in my second +3 listen of the year (see Faithful Breath). It won't be long before I find Five Miles Out I'm sure (and I did).

I own the Canadian press and this is significant. Why? This is the only pressing to have the track 'Mistake' on it. I originally asked the Discogs community about this, and it has now been confirmed. Also interesting to note that Crises was never released in the US on vinyl.

Ownership: 1983 Virgin Canada (LP). Acquired in 2022.

First copy: 1983 Virgin UK (LP). Acquired in 1984.

1984; 8/24/22 (review)

Hergest Ridge (1974)

I was in college when the Compact Disc first hit the common marketplace. But of course, like personal computers back then, they were prohibitively expensive for us student paupers. One could only look at the "long boxes" and dream of a scratch free / tick free experience. Oh the irony of today when everyone wants those sounds. Just like many want their beer to be hazy, after centuries of learning how to better purify the beverage. We're a world gone mad.

Really without any other choice, I stayed with the vinyl album because it's all I could afford (even then I disliked cassettes - another medium back in vogue. Going crazy I tell ya...). So in 1984, all of 19 and really dirt poor, I dutifully purchased my dogeared used and scratched USA Virgin press of Hergest Ridge for a $1 at a local store. So yea, not only used records, but not necessarily great copies either. Hey the nicer ones were $4! I couldn't afford that. And so I'd take the vinyl home, plop it on my roommate's crappy stereo with a crappy stylus and played it endlessly. Happier than a clam.

Two years later I scored a summer internship at a major defense contractor. I was making gobs of cash (relatively speaking of course) for the first time in my life. So I did what any other 21 year old newly minted "hundredaire" would do: I bought me a nice stereo! With a CD player - wow I'm rich! And the first two CDs I purchased were Pink Floyd's Meddle and Tangerine Dream's Green Desert. Stories for another day (and since told). But damn, new CD's were expensive back then. But then there was the burgeoning used CD market (not cheap either but better).

I bring this story to the Hergest Ridge review because this was the first used CD I ever bought to replace a beat LP, starting a trend that continued for years. And to no regret whatsoever. As mentioned above, it wasn't like we had 180 gram pristine vinyl copies like today. Oh hell no - we just had scratched up old used copies of commodities that probably found themselves in a trash can years later. And back then even the new albums were cheap 80s represses - again of the commodity variety. Any expensive import I would have kept on LP. And to my ears, did this CD ever sound SO MUCH better than my old vinyl!

As for the music, Hergest Ridge remains my favorite Oldfield effort (though Amarok - the album from out of nowhere - gives it a run). He managed to capture the English countryside sound similar to Anthony Phillips - but on a large scale with many marquee name participants. And Side 2 gets really intense about halfway through - Oldfield's inner anger comes out with pounding / continual synthesizers and raucous guitar rave-ups. If you think of Oldfield as some tranquil music for middle aged New Age fans, play this side of music and you'll have a different viewpoint. Excellent on the whole.

Ownership: 

1984 Virgin UK (CD). Yes, it's the exact same CD as above. No bar codes. Cheap booklet that goes on to explain what a Compact Disc even is - in English, French, and German. Acquired in 1986.

1979 Virgin International (LP). First acquired in 1984. Latest copy acquired in 2026.

1984; 1986; 11/1/14; 9/14/19 (review)

Also own: Tubular Bells (more than one version); Incantations; Amarok

Previously owned: Islands 

9/14/19 (new entry)

My Solid Ground ~ Germany

My Solid Ground (1971) 

---Jul 1997

One of the oddballs of the early German scene. Basically, the raison d'etre of this is the 13 minute 'Dirty Yellow Mist' which is one of the finest examples of Floydish Krautrock ever committed to tape. Power chords, growling organ, industrial phased vocals, tribal drums. But the rest is a complete departure which offers a basic hard rock sound with a couple of innovative pieces like 'The Executioner" which feature echo voice overs. 

The CD issue makes the purchase more essential. Because here we get the full story. Turns out 'Dirty Yellow Mist' was originally part of a 24 minute composition that also features as its main theme a boorish hard rock tune known as 'Flash Pt. IV' on the LP. But other than the opening and ending, we are graced with the experimental side of My Solid Ground. Some of the guitar playing here reminds me of the Ash Ra Tempel Private Tapes series from around 1971. Really hot stuff! And yet another version of the great Dirty Yellow Mist song is also featured. Clocking in at only seven minutes this time - it features more depressing lyrics than the original.

---Dec 2004

This album has always been about the 13 minute opener ‘Dirty Yellow Mist’, one of the most tripped out Krautrock pieces from a most tripped out scene. Organ, pounding drums, fuzz guitar leads, heavy chords, processed spoken vocals. I love the way it builds intensity as more keyboards are added. Had they continued down this route, My Solid Ground would be mentioned in the same breath as the awesome debut by Gila. However, the other seven tracks are in the hard rock zone, some creative like ‘The Executioner’ (with echoed voices and meter changes) and ‘Melancholie’ (instrumental hard rock with piano as the lead) - while others are purely in the bonehead category. 

The Second Battle CD is the way to go here. The 24 minute bonus version of ‘Flash’ contains an alternate version of ‘Dirty Yellow Mist’, as but one part of this magnificent suite.

---11/7/2026

I didn't realize I had two separate reviews of this fine album. Those were both pre-UMR, so time for a revisit and to enter here.

It's interesting that I used the word "bonehead" in my last review to describe the four other hard rock tracks presented on the album. Unbeknownst to me at the time, but bonehead is a subgenre of hard rock that is much sought after, especially in the 45 world. Similarly, my point of view has softened quite a bit on these "lesser" tracks. Going in with the mindset of album-length Krautrock, the three highlighted tracks above resonated strongly with me. This time I listened to the others as if they were isolated hard rock singles, perhaps two different ones. I would be elated to have them on 45 if they existed. With that new perspective, I was able to enjoy a +1 listen overall.

Ownership: 1997 Second Battle (CD). Tri-fold digipak with seven bonus tracks, as noted above. Acquired in 1997.

First copy: bootleg (LP). Acquired in 1991.

1991; 7/28/97 (review); 12//04 (second review); 11/7/26 (update / new entry)

Bwana ~ Nicaragua

---10/6/07

You can practically count the number of great progressive / psych albums from Nicaragua on one finger. And here it is. But their sole representative isn't only good, it's nothing short of amazing. I suppose it comes as no surprise that the major influence here is Santana. In particular the first two albums. The organ tones are not as heavy and the guitarist doesn't have near the chops as Carlos (though he's no slouch either). And while vocals exist on Bwana, they aren't a key to the sound. And when it's time to get indigenous, they naturally raise the sounds of pre-Colombian South America versus Mexico. So at this point you may be thinking we have a watered down version of Abraxas, but that's not the case at all. Where Bwana gains ground is in their use of percussion, which is more varied and is also a feature rather than an accent. There's also a tribal voodoo element going on throughout, making me wish I knew of other groups coming out of Nicaragua during this era. Six long tracks, totaling over 45 minutes, and not a dud amongst them.

---11/7/26

When I wrote that review, I thought Bwana were from Colombia, which was the prevailing theory at the time. It was some years later that a couple of members corrected the facts, and it turns out they were from Nicaragua, a considerably more impoverished country. I substituted the countries above.

While listening to the album last night, I started to think I may have rated it a point higher than my current feelings about it. Perhaps I was giving it an "obscure country" bump. As noted on the Gunesh review, these albums contain sounds not usually heard anywhere else, which makes it that much more exciting. But that's not really the case with Bwana, where the music is without a doubt influenced by Santana and other bands operating in that field. What was missing, I noticed, is the lack of high quality songwriting that we often find in the Latin rock genre. Santana, Malo, and Chango all come to mind here.

However, another aspect I tend to reward is the sound itself. And this is a big draw for Bwana. The entire organ, guitar, bass, and multiple types of percussion still resonates large with me. By the second straight listen, I was fully engrossed into the contents. As I said, you can count rock albums from Nicaragua on one finger (Alfonso Lovo was archival), and for them to get it right on one try is very impressive.

As the years have gone by, we've now learned the album was released in six different countries, many without much history for pressing rock records: USA, Venezuela, Colombia, Costa Rica, Ecuador, and Dominican Republic. No domestic pressings have yet to surface (and probably won't). Here in the States, it's not unusual to find albums on Caytronics (sometimes in thrift bins), a label dedicated to Latin music. But I've never seen Bwana, to this day.

Ownership: 2001 Acid Symposium (CD). This is an unauthorized release. At the time, little was known about Bwana, and I hadn't even considered if it was legit. I wasn't so focused on that topic too much back then. Acquired in 2002.

The album never has been reissued properly. So it remains on the CDRWL.

2002; 10/6/07 (review); 11/7/26 (update / new entry)

Gunesh ~ Turkmenistan

Looking at the Earth (1984)

---1/21/01

For their second album Looking at the Earth, Gunesh stepped it up a notch on the creative scale. We still have two barn burner horn rockers. This time, though, Gunesh also added some trippy Caucasus mountain music, Muslim prayer calls, psychedelia, hot fusion, Vietnamese traditional music, etc... to make for one of the finest albums I've ever heard. Rishad Shafi is possibly the greatest drummer to be found in the prog rock archives (Peter Gabriel considered him once but working it out with the Soviet authorities proved to be too much).

---11/5/26

After listening to both Gunesh albums back to back (multiple times I must add), I've come to the conclusion I like the debut better now. The conclusion of this has more to do with my elevated interest in that first album. I'm more familiar with their second album, having owned a copy for 32 years now. Looking at the Earth is the more consistent album for certain, and shaves off the ballads and other quirky pop rock sounds. The use of Hohner Clavinet is a dream for those who love the instrument generally associated with funk music. The horns remain tight as ever. The psychedelic element has been mostly removed, a small matter in the overall scheme of things. And of course, Shafi doesn't let us down with his massive drumming capability. My already high rating does not change for this fantastic album.

What's missing, for me at least, is the insane peak moments that the debut brings. Those three tracks I highlight below are pinnacles of my entire collection, especially A2.

Ownership: 1999 Boheme (CD). Titled Rishad Shafi Presents Gunesh. Includes the debut as well. Acquired in 2000.

First copy: 1984 Melodiya (LP). Acquired in 1994.

1994; 1/21/01 (review); 11/5/26 (update)

Gunesh (1980)

---1/21/01

Progressive music comes from all corners of the Earth but who would've suspected Turkmenistan? The words just escape me on just how brilliant their first two releases really are. In a nutshell they are a Middle Eastern sounding progressive horn rock / fusion group. But Gunesh are better than that may imply.

To describe the first album, Gunesh, imagine if the first Chicago Transit Authority album had among its ranks a drummer who was just an insane madman, and they played Middle Eastern themes. Unique? Oh yes! And unbelievably good too.

---11/4/26

It doesn't appear I've heard either of their albums in the last 25 years. Time to get them both into the UMR with a fresh listen. While the obvious instrumental highlight is the incredible drumming of Rishad Shafi, special mention should also go to vocalist Khajiriza Ezizov. He sings in a very impassioned manner, his voice always in control. I believe they call the style Bagshy (according to AI and a video I saw). There's also some wonderful psychedelic guitar interspersed among the tight horn charts. A2, A4, and B1 are all incredible highlights, and unlike anything else in my collection.

In looking at the CD, it appears only six of the eight songs are present. So I tracked down the missing pieces on YouTube. 'White Dove' (A3) is a sax driven sentimental ballad. B2 is very similar, though with a cool organ sound. One could see why these were chopped off of a prog rock oriented CD. But it does tell the whole story, and not surprising at all that these type of songs were on the LP proper. I can imagine that for those growing up in Turkmenistan, that this type of music would be much welcomed. We hear similar in Latin America during the 60s, 70s, and 80s.

Ownership: 1999 Boheme (CD). Titled Rishad Shafi Presents Gunesh. Includes the Looking at the Earth album as well. Acquired in 2000.

1/21/01 (review); 11/4/26 (update)

10/29/26 (new entry)

Steve Tibbetts ~ USA ~ Minneapolis, Minnesota

Exploded View (1986)

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

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

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

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

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

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

2/6/15; 11/5/26 (review)
 

Steve Tibbetts (1977)

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

Ownership: 1977 Frammis (LP). Acquired in 2018.

9/14/18 (review)

Yr (1980)

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

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

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

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

Also own: Big Map Idea

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

7/17/18 (new entry)

Pekka Pohjola ~ Finland

Jokamies / Everyman (1983)

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

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

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

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

1984 Breakthru' (LP)

1984; 11/4/26 (review)
 

Keesojen Lehto (1977)

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

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

4/30/22 (review)
 

Pihkasilma Kaarnakorva (1972)

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

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

1/4/22 (review)

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

1/5/22 (new entry)

Enrico Rava ~ Italy

Katcharpari (1973)

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

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

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

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

10/28/26 (review)

10/28/26 (new entry)

German Oak ~ Germany

German Oak (1972 / 198?)

---Aug 2005

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

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

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

---10/27/26

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

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

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

---

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

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

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

Previously owned: Nibelungenlied

10/28/26 (new entry)

Arachnoid ~ France

Arachnoid (1979)

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

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

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

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

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

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

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

Trayn ~ USA ~ Jacksonville, Florida

Hits Hot (1980)

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

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

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

Never been reissued in any format.

1980 Homestead (LP)

10/26/26 (review / new entry)

ORS (Orlando Riva Sound) ~ Germany

Body to Body Boogie (1978)

---10/30/13

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

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

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

---10/25/26

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

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

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

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

Minimum Vital (& related) ~ France

Sarabandes (1990)

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

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

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

A timeless album.

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

1990; 10/25/26 (review)
 

Les Saisons Marines (1988)

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

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

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

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

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

Envol Triangles (1986)

---Jun 2005

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

---9/29/25

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

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

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

 

Vital Duo - Ex Tempore (2001)

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

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

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

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

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

La Source (Huit Chants de Lumiere) (1993)

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

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

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

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

Also own: Capitaines; Pavanes

Previously owned: Esprit d'Amor; Atlas

3/8/10 (new entry)

Panna Fredda ~ Italy

Uno (1971)

---2/23/07

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

---10/25/26

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

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

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

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

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

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

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

Ohr Musik ~ England

Friction Burns (1999)

---2003

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

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

---10/24/26

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

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

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

Ohr Musik (1997)

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

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

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

9//04; 9/14/22 (review) 

9/14/22 (new entry)

Ezra Winston ~ Italy

Myth of the Chrysavides (1988)

---11/13/09

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

---10/23/26

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

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

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

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

Also own: Ancient Afternoons

10/23/26 (new entry)

Collage ~ Poland

Baśnie (1991)

---3/9/10

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

---10/22/26

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

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

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

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

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

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

10/22/26 (new entry)

Jean Michel Jarre ~ France

Chronologie (1993)

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

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

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

1993 Dreyfus (MC)

10/22/26 (review)
 

Zoolook (1984)

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

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

10/28/23 (review) 

Rendez-vous (1986)

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

1986 Polydor / Dreyfus (LP)

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

Les Concerts en Chine (1982)

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

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

4/30/21 (review)

Magnetic Fields (1981)

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

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

12/27/20 (review) 

Oxygene (1976) 

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

Ownership: Dreyfus (CD). 

12/23/20 (review)

Equinoxe (1978)

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

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

12/3/20 (review)

Also own: En Concert Houston

12/22/21 (new entry)