October Equus / Angel Ontalva ~ Spain

Angel Ontalva - Mundo Flotante (2012)

---5/2/13

Ontalva is the guitarist for October Equus, and even though the album is under his name, it's a full band effort made up of members of... October Equus! The difference is this is complex and melodic rather than complex, cold, clinical, and dissonant like the last OE album was. They probably should have just chosen a new name for the band, but who cares really, as this is great. Highly recommended! I hope there's more from this water well to draw from.

---7/20/26

Now what could possibly make me think of Spain today? :-)

Angel Ontalva is the primary mover and shaker behind October Equus. Obviously a creative individual with energy and many ideas to burn. In addition to his primary group, Ontalva has released many solo albums, along with collaborations. Most famously with the Russian space rock collective known as Vespero. Many of his albums are on cdr or online only. His solo debut is Mundo Flotante, a fully realized work manufactured on CD. This is also the debut for the OctoberXart label, Ontalva's primary vehicle for his releases.

So what distinguishes this release from his flagship group? In researching my question, I discovered the review I wrote above (not previously in UMR though). I didn't know I did that! Haha, well the answer is there. Melodic is the keyword. There's a distinct Canterbury feel, not so much that its whimsical or filled with jams loaded with fuzz keyboards, but rather it has a similar compositional take on the jazz rock idiom. The title of the album is what one would call a clue. Reference Soft Machine archival albums at your leisure.

I can also hear parallels to what Patrick Forgas was doing with his Forgas Band Phenomena project. Funny that I just mentioned the same thing on Edition Speciale's Horizon Digitale review. Mr. Forgas is dominating my thought process of late.

Ownership: 2012 OctoberXart (CD). Booklet with artwork and recording details. Acquired in 2013.

5/2/13 (review); 7/20/26 (update)

October Equus (2006)

One never knows when a new force enters into the progressive rock landscape. Steven Wilson meekly introduced himself with his bedroom tapes for Porcupine Tree. Fabio Zuffanti was somewhat anonymous when he hit the world stage with Finisterre. And a one Angel Ontalva announced his presence with a new band called October Equus. Though in this case, Ontalva showed up with a bang, dominating the sounds around him.

When October Equus' debut arrived, I was all about the sound they were creating. Looking at some old notes, I started at a 5 star masterpiece, something I almost never do. They mixed the aggressiveness of Belgium's Present with the psychedelics of France's Nebelnest's debut to create what I considered the perfect recipe. Over time, I've dropped the album a full two points, which still keeps it in the excellent category. Music like this almost immediately finds itself out the door, as I feel I have too much of it. Generally I keep the ones of personal historical interest, that I first discovered in the 80s and early 90s. And yet, I still found myself enjoying the heck out of this one - clearly a cut way above the norm. It's more the Nebelnest influence that holds my interest here - there is a warmness to that sound that balances the cold rigid complexity that avant prog represents. I continued buying October Equus albums through 2013's Permafrost, though I'm not sure how many of those remaining three will remain, but for certain the debut will be here for the long haul.

Ownership: 2006 Ma.Ra.Cash (CD). Historical footnote in English on what October Equus means. Recording details on the back tray. Acquired in 2006.

4//06; 8/13/22 (review)

Saturnal (2011)

Saturnal is the 3rd album from arguably Spain's most complex rock band. Their first album was almost like a psychedelic Present (Belgium), a very interesting combination that I found highly appealing. With each subsequent release, October Equus ups the ante on complexity, while toning down the more jamming aspect of their sound. It's pretty clear this is a band that now must play live with scored music charts, rather than rehashing more simple material and letting loose on occasion. On Saturnal, October Equus has entered the realms of a new force of music - one that was pioneered by Thinking Plague - and now mastered by many more. Sophisticated, dense, mathematical, academic are a few adjectives that can describe the music within. It's the blueprint sound of the AltRock label. Avant progressive at its most pure. And for me, each new album becomes a little less exciting but more intelligent. The fun and creative high school kid is going to be a doctor. His mother would be proud.

Overall, I still find October Equus to be an excellent band. I just wish they'd loosen up a bit.

Former ownership: 2011 AltRock (CD). Acquired in 2012. Downsized in 2024.

3/12/12 (review); 9/20/22

Ontalva's work with Vespero can be found here.

Also own: Charybdis; Permafrost

3/12/12 (new entry)

Edition Speciale ~ France

Horizon Digital (1978)

---2008

Horizon Digital has long been considered my favorite of their three albums. The group started inauspiciously with Allee des Tilleuls, a misfired attempt at American funk (ed: want to hear this again given my later interest in funk). But the follow up Aliquante was a punch between the eyes – a fast paced, tightly interwoven instrumental fusion album, indebted to Mahavishnu Orchestra to be sure, but of the highest quality. Most folks rate Aliquante the best, and it's understandable why. Horizon Digital combines the high energy fusion of Aliquante with a much better understanding of the funk they tried on their debut. After mixing those two, they took the end product and added some Zeuhl elements, ala Zao, to create a diverse, and highly creative effort. 

The CD also includes five bonus tracks (totaling around 27 minutes) of a proposed 4th album from 1980. These tracks are fully developed and show the band incorporating the French New Wave movement. One can hear the same type of sounds as also found on Superfreego, Lievaux – Transfo, Foehn, and Odeurs.

---7/10/2026

And that's the last time I heard Horizon Digital, missing the advent of UMR by one year. Time to build out a band page for Edition Speciale. It's probably been even longer since I heard Aliquante.

Horizon Digital is one of those albums that intersects both the progressive rock and jazz fusion genres. The shifts in tone and meters, coupled with some light French vocal sections, points to the former. The overall sound recalls the late 70s fusion era. The music is highly melodic and well composed. There are traces of mid 70s Soft Machine as well. The complexity within the tight constructs of the composition would later be explored further by the Forgas Band Phenomena.

This isn't an album you hear too many folks talk about, but for my tastes it is an essential addition to any progressive rock collection. 

I also really enjoy the artwork that adorns the gatefold cover.

I'm going to dial back some of my enthusiasm for the bonus tracks. The blues number is forgettable and 'Open it Up' is sung in English - not a good plan. The new wave influences are mostly muted, only heard in the synth work. I wasn't aware of the Boogie Funk genre in 2008, but that's a more accurate reference to their overall sound. Closer to disco than rock or fusion, but with an 80s slant. Some of these tracks would command hundreds (or thousands) of dollars in the 45 market were it American and on some private label. I find them pleasurable, though not enough for me to keep. 

Ownership: 1978 RCA (LP). Gatefold with pictures of the band. Acquired in 1992.

Previously owned: 2007 Musea (CD). Booklet with history and five bonus tracks. Acquired in 2008.

1992; 2008; 7/10/26 (review)

Also own: Aliquante

7/10/26 (new entry)

Brian Auger ~ England

Streetnoise (1969)

Somehow I missed this album in my initial coverage of Brian Auger's classic jazz rock works. It was part of an LP lot I recently picked up, and I was pleasantly surprised by what what was coming back on the first track. So I decided to tackle the entire two album package. At first I thought it might be a good fit for my Post Psychedelic, Proto Progressive With Female Vocals list. But as anyone will point out, the album is too diverse for its own good. A3 is a Nina Simone gospel cover, far - far - from my interest area. There are many other cover songs, similar to the Befour album mentioned below, but not as satisfying (yet still inventive). Nonetheless, the album remains quite interesting. I can listen to Auger play the Hammond all day long. He would have been a good fit for the early incarnations of Soft Machine. Julie Driscoll lays it all out there. She's a bit much at times, but there are certainly worse and more histrionic female vocalists during this era. She's strangely absent from Side 3, and that may be my favorite side since it features all original material. C4, though, is a vocal track (Auger singing?) and not very good. But the instrumentals are great as is Dave Ambrose's composition. The 4th side is pretty forgettable. Overall, probably not good enough for me to hold onto at this stage, but I'm glad to have heard it. If I were to grab some bonus cuts from it, I'd take A1, B2, C1, C2, C3. Maybe B3 since it's so strange in the way it flows.

Source: 1969 ATCO (2xLP). Gatefold.

7/8/26 (review)   

Befour (1970)

With Julie Driscoll out of the way, Auger was able to get back on the (mostly) instrumental jazz rock train. This would be the last outing from The Trinity, but it sets the stage for his work with Oblivion Express. Six of the seven tracks here are covers, but don't let that deter you as they are highly creative interpretations. Auger's Hammond is always a joy to hear, and Gary Boyle puts in a fine performance on guitar. 15 years after first obtaining, this is only my second outing with the music. +1 listen for me. 

Ownership: 2007 Fuel 2000 (CD). Booklet with historical liner notes. Includes three excellent bonus tracks. Acquired in 2008.

2008; 11/5/23 (review)

Straight Ahead (1974)

Straight Ahead is the 5th album from Brian Auger's jazz funk fusion group Oblivion Express. It's a solid follow up to their breakout album Closer To It, and musically very similar. This was not by accident as the album was clearly patterned after it, and its primary purpose was to have an album to tour the States with. Straight Ahead catches a groove early and never quits. Auger leads the way with organ, electric piano, and vocals. The latter is not something he's known for, but I quite like his vocal style myself. Smooth and expressive. Better than some of the professional vocalists he'd used on other albums. Hard to pick a favorite here, but I'll go with Wes Montgomery's 'Bumpin on Sunset', which interestingly enough I have a promo 45 single of. Excellent album overall.

Ownership: 2006 Fuel 2000 (CD). Booklet with full historical liner notes and one bonus track. The latter is the title track recorded live up the road in Denver, appropriate since the album's existence was to play live in the US. Acquired in 2008.

2008; 7/24/13; 9/20/22 (review)

Jools & Brian (1969)

A few years before the Captain & Tennille, there was Jools and Brian. A mixture of the pop of their day, with a way too talented keyboardist who should be doing more. Fortunately for all of us, Auger did just that. This album is OK for what it is, but unless you want to hear orchestrated standards with a vintage organ and female jazz pop vocals, then you're not likely to find much here. 

Source: 1969 Capitol (LP)

8/27/21 (review)

A Better Land (1971)

Before everyone got all amped up about 180 gram vinyl, RCA went in a different direction with Dynaflex. I swear they weigh like 10 grams and you can fold them like a taco. The inner sleeve goes to great lengths to explain the benefits of Dynaflex. Pure salesmanship that's for sure. I'd heard this album almost precisely nine years ago, and managed to get some scratch off notes down. Here they are: "Regarding Brian Auger's first five Oblivion Express albums - starting with the debut and ending with Straight Ahead - four of these are considered progressive jazz rock classics. The other is a vocal heavy folk rock album, somewhat like CSN&Y meets America. See the problem? Something about tigers, leopards, spots, and stripes. If for some reason this is the only album you've heard by Auger's Oblivion Express, then the title track is the only song here that recalls the other albums, if curious." I did have a +1 listen last night, as Side 2 as a whole was better than I remembered. But that just moved it from average to good. Excellent gatefold cover. One of his rarer titles.

Source: 1971 RCA (LP)

7/8/21 (review)

Also own: Brian Auger's Oblivion Express; Second Wind; Closer To It

9/20/22 (new entry)

2026 Revisits of prior UMR entries Vol. 7

Babylon (1978)

Asia Minor - Between Flesh And Divine

Rousseau - Retreat

Devil's Kitchen (1968-69)

Invisible (1974)

Smoking the Century Away (1997)

Ibliss (1972)

Moses - Changes

Wolf People - Fain

Skeptic Sense - Presence Of Mind ++

Caldera ~ USA ~ Los Angeles, California

Time and Chance (1978)

I recently heard Caldera's second album Sky Islands, and I just couldn't get into it. I couldn't even muster up a review here for UMR. As I reflect on their quartet of albums, that was their try for commercial stardom, and is the odd one out. From the beginning of Time and Chance, Caldera are clearly going back to their Latin based jazz fusion roots. Jorge Strunz is in full powered Santana / Al Di Meola mode here. There's more than a nod to the latter's songwriting style throughout.

'Shanti' is really nice with female wordless vocals, flute, and searing guitar. And the album closes the proper way, with a smoldering fusion number where Strunz lets loose on the fretboard with plenty of additonal flute.

Three strong albums out of four is a good career I would submit.

Strangely, Time and Chance has never been reissued on CD whereas the others have (though Dreamer remains a scarce Japanese only product).

Ownership: 1978 Capitol (LP). Acquired in 2014.

4/11/14; 7/4/26 (review)  

Caldera (1976)

The CD boldly claims "Masters of Funk & Soul" and "Some of the Greatest Funk Albums Ever!". Generic hype for the series perhaps, but it doesn't really apply to Caldera's debut. Los Angeles based Caldera are in the jazz fusion strike zone. Fastball down the middle. It's a great example of the scene taking some of the more Latin influenced tracks from Return to Forever and giving that style more focus. It's complex yet highly melodic. And well composed. Caldera aren't technical in the same sense as RTF, which is a plus for me. From here they were to add more funk and soul elements similar to the better side of Earth Wind & Fire. All four albums are worth exploring.

Ownership: 2004 EMI / Capitol Europe (CD). Booklet with a short history of the band and album. Acquired in 2005.

5//05; 5/26/24 (review)

Dreamer (1979)

Most bands don't end a career with their most dynamic and progressive album especially in 1979. Caldera had dabbled with commercialism on their sophomore effort Sky Islands, but this one is primarily a fiery instrumental fusion along the lines of 1972-74 era Santana, with some nods to Return to Forever. They threw caution to the wind and just went for it. If only most bands had a similar attitude back then. Arguably - and probably - their best album.

Ownership: 1979 Capitol (LP). Textured cover. Acquired in 2022.

First copy: 2015 Capitol Japan (CD). Acquired in 2015.

7/19/15 (review); 12/18/17; 5/4/22

Previously owned: Sky Islands

7/19/15 (new entry)

Secret Oyster ~ Denmark

Vidunderlige Kælling / Astarte (1975)

 

Vidunderlige Kælling is the 3rd album from Secret Oyster. It was released as Astarte in the Netherlands, so it's sometimes known by that title. Certainly easier to remember. And it was also the first copy I found, so it's how I knew the album for years. Still refer to it that way, honestly.

The music is composed for a ballet. Jazz fusion is not the first genre I think of when considering the ballet. Secret Oyster are also not the first prog oriented band from Denmark to do this. Ache started their career with a ballet soundtrack known as De Homine Urbano. Quite an odd occurrence.

Interesting to mention 'Astarte' because it may be the highlight track here. The sitar and sax soloing together reminds me quite a bit of Embryo. 'Outro' is another standout. As the liner notes point out, the music is varied to support a multi-themed ballet. As such, the listening dimension can be disjointed.

The "obi" strip provided by the CD label references Soft Machine, Mahavishnu Orchestra, and Return to Forever. While those groups are certainly reasonable comparisons considering the music does circle the jazz fusion genre, deep divers will likely not agree. To be fair, what else could you compare it to? Not much leaps to mind. As the album goes, one begins to hear a strain of neighboring Sweden's Samla Mammas Manna. That wouldn't draw in a single new buyer, but it's much more of what you can expect here.

Given the premise of the setup, I've always had this album the lowest rated of their quartet of releases. It lacks the burning solos of the other three, though there is some of that.

'Sleep Music', one of the bonus tracks, is a wonderful atmospheric piece and should have been on the album proper.

Ownership: 2005 The Laser's Edge (CD). Booklet with historical liner notes, a band photo, and three bonus tracks. Acquired in 2007.

First copy: 1976 CBS Netherlands (LP). Acquired in 1986.

12//86; 1995; 5/13/07; 6/29/26 (review)

 

Furtive Pearl (1973)

Secret Oyster were one of the more well known European fusion groups back in the day, as their albums sold quite well back home, as well as benefiting from good distribution around the world, especially in the US. In fact they were one of the first European fusion groups I’d heard, having stumbled upon Furtive Pearl (the US release on Peters International) as far back as the mid 1980's. Founded by members from Burnin' Red Ivanhoe, Secret Oyster subsequently added psychedelic guitarist Claus Bohling from Hurdy Gurdy and jazz pianist Kenneth Knudsen from Coronarias Dans to form one very hot quintet. Their four albums, released between 1973 to 1976, are all remarkably similar, but never repetitive or lacking inspiration. The debut mixed in more avant-garde jazz styled noodling, and this is where the Coronarias Dans influence comes in. But the album also features some of their more unhinged rock moments, as Bohling really lets loose on the electric guitar (witness his literally stinging solos on 'Fire & Water' and 'Public Oyster'). The only minor gripe I have with the band, is that Karsten Vogel's primary wind of choice was the soprano saxophone, a variety of the instrument I don't personally enjoy as much as the tenor or alto. All the same, a superb debut by a band clearly on the rise.

Secret Oyster became almost legendary in "reissue circles" (does such a circle exist? you ask...) as the progressive rock act that was most neglected. In fact, when label owner Ken polled a chat board on which band he was going to reissue that had "multiple albums", I guessed immediately Secret Oyster. I win :-)

Ownership: 

1974 Peters International (LP). Reacquired in 2023. First purchased in 1985.

2007 Laser's Edge (CD). Booklet with liner notes from band leader Karsten Vogel, and includes two great live tracks. The original cover features a rendition of an historical postcard of the fishing port of Nibe, in Jutland where the band recorded the album. Acquired in 2007.

1985; 11/2/07; 1/13/15 (review)

Also own: Sea Son; Straight to the Krankenhaus

1/13/15 (new entry)

Al Di Meola ~ USA

Electric Rendezvous (1982)

I take us back to the Elegant Gypsy review below. This would have been the new album not long after I started hanging out with my new friend. I don't recall buying it real time, perhaps being overwhelmed already with Elegant Gypsy and Casino.

In the modern era, I reflect on the album differently. I see Electric Rendezvous as Al Di Meola going back to the basics like the two classics noted above. His grandiose Splendido Hotel and forays with Paco de Lucia & John McLaughlin, were paving the way for Di Meola's future endeavors. Electric Rendezvous is his swan song to his Return To Forever roots. The album opens perfectly with another Mingo Lewis composition, someone whose compositions are perfect for Di Meola's style. The title track has a progressive slant, something I wish Di Meola had pursued more in earnest over his career. I enjoy the acoustic duo with de Lucia, but a whole album of acoustic jamming isn't to my tastes. Side 2 proves once again that Di Meola was just as much a strong songwriter as he was a talented guitarist. Today, I hear this album as one of his essentials.

Ownership: Columbia (CD). Acquired in 2015.

First copy: 1982 Columbia (LP). Acquired in 1990.

1983; 1990; 1/4/15; 3/6/18; 6/23/26 (review)  

Land of the Midnight Sun (1976)

I've gone on about Di Meola in these pages already. His debut lays out the blueprint for his next two works, arguably his great moment in the midnight sun. As I hinted on Elegant Gypsy, I think Di Meola probably gets too much credit for his guitar virtuosity and too little for his songwriting ability. Like all of Di Meola's albums up through 1982, I owned them on LP in high school or early college. For whatever reason, I don't feel compelled to replace these commodity CDs - it just goes with the music and the era. I discuss some of this phenomena on the Elegant Gypsy post as well.

Ownership: Columbia (CD). Acquired in 2014.

First copy: 1976 Columbia (LP). Acquired in 1985.

1985; 8/12/14; 11/2/19; 2/15/23 (review)

Elegant Gypsy (1977)

In my junior year of high school, way back in 1981, there was a new kid in school and we became instant friends. But he was different than all of us. He was rich. Very rich in fact. I never even knew anyone that was wealthy, much less had a friend like that. While I certainly never missed a meal growing up, we definitely didn't have much disposable income - and lived quite modestly. The fact is, rich kids didn't go to schools where I lived. The reasons are multiple, but that's for another time (and drinks presumably).

I bring all of this up here in an Al Di Meola review, because this new chum also brought an entirely new music perspective with him. Unlike myself and my running set, he had no use for FM radio (i.e. AOR / MTV / Corp Rock), hard rock, or heavy metal - the latter being my first foray into collecting underground music. Oh no - this guy was already a well schooled audiophile, who had thousands of dollars of stereo equipment throughout the 15,000 square foot mansion he lived in. He read all the magazines, and absorbed the music culture that went with it. And jazz fusion was the music of choice. I wouldn't have known what fusion was had it hit me in the nose back then. And his favorite guitarist was, ta-dah - Al Di Meola. And Elegant Gypsy, along with Casino, were LPs he played constantly while at his house shooting pool or playing ping pong. Eventually I bought up the Di Meola line through Electric Rendezvous, and then I exited for college.

There in college, of course, I met more people who were quite informed about music. It was also about the time that a one Yngwie Malmsteen entered stage right (who friend above and I discovered via the somewhat disappointing Steeler album). Then came all those tiresome debates, ones it seems I engaged in for far too long in life. Like "who's the fastest guitarist". And off went the arguments "Malmsteen only plays chromatic scales.." "Di Meola is a one trick pony". "Oh yea, well John McLaughlin blows them all away!"... Who's that I ask? And then I found myself loading up on Mahavishnu Orchestra albums. Ah you kids and the internet. In those days it was talk (none of this was on the radio) and used record stores if you wanted to learn about something.

Eventually I got worn out by all of that, and held Al Di Meola responsible for me not liking music that seemingly was all about technique. And it was in college that I was first discovering Krautrock and European underground prog rock - pretty much the polar opposite of the slick, audiophile friendly jazz fusion.

None of which was fair to our subject matter at hand. Eventually I went back to Elegant Gypsy and revisited it on its own terms - sold off the dogeared LP and purchased the CD - and heard it with a fresh pair of ears. Honestly the chops are only a part of Al Di Meola's repertoire, but I do think he's quite unheralded when it comes to songwriting. He's quite adept at that too, and every song here is enjoyable (with like-minded cohort Mingo Lewis penning the opener 'Flight Over Rio'). And 'Race with Devil on Spanish Highway' is what everyone else says - a brilliant track, the perfect combination of jazz fusion and prog rock. I don't agree with those who state Di Meola was retreading ground that Santana laid out. To me, we're talking two entirely different branches of Latin influenced music.

Nowadays, I may hear the album every few years, and this listen just confirmed again how enjoyable Elegant Gypsy really is. After knowing the album very well for 37 years, I can say that with conviction.

Ownership: Columbia (CD). 80's commodity pressing. One of those old school-no-info CD's that proudly state "Now Made in the USA!". If you recall, CDs were originally made in Japan or West Germany (and expensive at that), so it was something of a big deal when they became a domestic product. It's really too bad folks have moved away from CDs. I would expect a renaissance at some point.

First copy: 1977 Columbia (LP). Acquired in 1983.

1983; 11/26/15; 4/10/18 (review)

Also own: Casino; Splendido Hotel

Formerly owned: Cielo e Terra; Soaring Through a Dream

4/10/18 (new entry)

Bluestone Company ~ Japan

Supernatural Delight (2008)

When I'm out digging in the wilds, I'm always on the lookout for obscure new tunes to check out. When I found this one, I figured it was just another one of those dime-a-dozen blues CDs that are everywhere, and generally worthless. I was intrigued by the title though, and looking at the back cover it seemed like it might be psychedelic too. It was only 25 cents, what do I have to lose? As we joke at "The Bins", our collective gravestones will say "but it was only 25 cents".

I had no idea the band was Japanese until I put the CD in the changer and took a closer look at the booklet. After a brief synth introduction, tracks 1), 2), and 3) will proceed to blow your head off. Blues rock? Southern rock? Not on your life. Not even primo Allman Brothers. It sounds more like Ozric Ed Wynne got stuck in Tokyo and decided to jam with Happy Family and Kenso in between trips to Disk Union. It's been ages since I was this exhilarated about something post-2000. At least from a band I had no clue who they were.

It's not until 4) that, OK yes, it is a blues rock album after all. The star of the show is clearly guitarist Toshihiro Sumitomo, who plays a very raw and intense electric guitar throughout. It's exactly what I wanted from Stevie Ray Vaughan all those years ago. But Vaughan stuck closer to Texas Blues. Sumitomo is more like Blue Cheer Blues. His background is from a blues band called The Savoy Truffle. Another new name. 5) slows things down until Sumitomo gets bored and starts wailing about halfway through. 'Colonel Panic' is a cover song from an American jazz fusion band known as Jing Chi. Never heard of them either. 7) is another heavy blues song in the same tradition as 4). 8) is largely blues rock but there's some trippy trumpet at the end adding some much needed spice.

9) is none other than The Meters' 'Cissy Strut'. Heavy blues style and gets really psychy flipped out towards the end reminding me quite a bit of Frank Marino's later live works. The closer 'Desert Blues' really does conjure up the Arizona landscape, and Sumitomo provides the ethereal electric guitar to create the right aura.

Get this one.

Ownership: 2008 Grooveyard (CD). Booklet with recording details and a band photo. My copy is signed by all four members no less. Acquired in 2026.

6/23/26 (review)

Bluestone Company has two more albums with Texas blueser Chris Duarte. 

6/23/26 (new entry)

2026 Hard Rock Journal Vol. 1

*The Outlaws - Bring It Back Alive. Arista (CD) (1978). For whatever reason my review of their debut dropped out of the UMR. Fortunately I added it to RYM, so I'll include it at the bottom of this posting. I did sell that copy telling myself if I ever find their signature live album on CD in the wilds, that will suffice as my Outlaws collection. And here we are. All the tracks come from their first three albums excepting 7). Oh, and the opener which came straight from a Synergy album (how incongruous is that?). Even though I've never heard this album, I feel like I have anyway. Even the country tinged songs here break into some intense electric guitar jams. They can't help it. Or so appears. Of course the crowning achievement is the 20 minute version of 'Green Grass & High Tides'. Everyone says that. And so will I. The intensity is unreal. It's too bad they didn't incorporate this kind of jamming into more creative songs over their career. (6/20)

Pat Travers - Putting It Straight. 1977 Polydor (LP). Like many folks, I first became familiar with Pat Travers real time through his live 1979 album and subsequent studio release. Even though I was a hard rock guy back then, Travers never really crossed the threshold of obtaining much interest from me. I'd never heard any of his first four albums, so for a quarter, why not give this 3rd one a shot? Canada certainly had their share of hard guitar rockers in the late 70s with Moxy, Rush, and Frank Marino leading the charge. Travers seems to hedge his bet a little too much here. He doesn't really "go for it". The sound is fine, solid late 70s hard rock fare. But there's no extended jamming, or anything I'd consider high energy. It's kind of hard to discern who the target audience might be. There's some funk, boogie, jazz fusion, and classic rock interspersed throughout. Robin Trower might be the closest blueprint, but doesn't have his soul. Of course having James Dewar helps Trower with that. Interesting to note that future Iron Maiden legend Nicko McBrain is the drummer here. I'll check out any of his albums for a quarter, just not sure anything is going to stick. (4/28)

Blue Max - Limited Edition. 1977. Looks like this is my second go round with this title, though I recall nothing about my initial listen. From Nova Scotia, Blue Max has gained a reputation (via reissues no doubt) as a solid hard rock band in recent times. They are definitely of the no frills power trio variety, with an interesting speed picking style on the electric guitar. Early Rush and Moxy are good guideposts here, though not quite as audacious. The exception to this is the 8:42 epic 'March Of The Trolls' and, to a lesser extent, 'The New One'. They were just teenagers when they released this album, quite an accomplishment concerning time and place. Worth checking out for certain. (3/8)

Outlaws. 1975 Arista (LP). The ultimate get-wasted-bar-fight album, The Outlaws are the epitome of get-yer-guns out... and then we'll talk. As with many southern bands, they have a three guitar attack - that is mostly not utilized. But when they do jam, they jam. The album opens up very strong with three great tracks, including their signature hit 'There Goes Another Love Song'. From there, it's mostly country rock, until it concludes with their ten minute guitar hero statement of 'Green Grass & High Tides', which saves the album from the resell bin. The Outlaws are one of those bands where the songwriters are very different from each other, and there's not much cohesion between them. For my tastes, guitarist Hughie Thomasson is the thought-leader of The Outlaws. The other guys seem content to write simpler country music. In hearing this debut in full, it becomes clear that The Outlaws really are best enjoyed as a live act, where they can really let loose. (4/30/21)

* - Keeping for the collection

2026 Revisits of prior UMR entries Vol. 6

KOM Quartet - Jazz Liisa 04

Jukka Tolonen Ramblin' Jazz Band - Jazz Liisa 03

Chalibaude - Les Noces du Papillon

Blessed End - Movin' On

Sebastian Hardie - Four Moments

Siniaalto (2002)

Druckfarben (2011)

Acqua Fragile (1973)

Birth Control - Plastic People

Analogy (1972)

Smoke ~ USA ~ San Francisco, California

Everything (1973)

---12/16/11

Smoke's Everything is a varied, but super cool atmospheric jazz rock album. Freaky in the MPS tradition, though group is California based (rather than German as is often thought). The bass clarinet piece recalls Lard Free on I'm Around About Midnight. Speaking of which, lots of great midnight lounge organ sounds. No other album like this one. A kozmigroov classic.

---6/20/26

That was the CDRWL entry. Today I received in the mail the first legit reissue. Popped it right into the changer immediately, something I rarely do anymore. Let's see if that original review holds up.

A1 is a relatively sane and mellow atmospheric jazz rock opening. A2 borders Krautrock with its haunting sounds. A3 goes for the deep groove. It really does remind me of Lard Free on I'm Around About Midnight. Though some of the winds soloing gets a bit unhinged until the organ saves the day.

B1 adds in some cool African percussion and female wordless vocals. B2 really gets out there, almost like an Ethereal Wave album with echoed female vocals and piano. Then another deep groove sets in with echoed vibes on top, as only the Germans would do it. B3 seemingly is going to be a straight jazzer, until it too goes into deep space with a stoned Milt Jackson styled vibes sound. It does eventually get into a bit of hard bop with some free jazz sax blow. He seems to be the most jazz oriented of the bunch. Fortunately the organist comes in to stop him from going completely mad and bring us back to what one expects from the MPS label. B4 is the most representative of the Kozmigroov sound.

Overall I enjoyed a +1 listen.

Ownership: 2026 Solid / MPS (CD). Liner notes in Japanese. The original back cover liner notes are here as well (in both German and English), but you'll need a magnifying glass to see them. Acquired in 2026.

12/16/11 (review); 6/20/26 (update)

They have another album from 1970 that I have yet to hear.

6/20/26 (new entry)

Robin Trower ~ England

Bridge of Sighs (1974)

One of the greatest albums of all time. And easily my favorite Robin Trower album, and I like them all! At least his 1970s and early 80s output. And, for once, I seem to be in the majority here. The vast majority. Everyone I talk with agrees that Bridge of Sighs is Trower's best. Most agree it's a masterpiece. No matter your religion, race, sex, politics, age; No matter if you're a deep diving underground head, or a novice just getting started, Bridge of Sighs is the one. 

There's not a single weak track either. The title song gives me goosebumps every time I hear those first guitar notes over the chimes. What a tone he's achieved here. 'Day of the Eagle' is a crushing opener. B1 and the closer are also FM radio classics. Even the deep cuts like A3, A4, B2, and B3 deliver the goods.

I haven't done a good job of documenting my Trower collection, and considering I own all his classics on a CD set, it will just be a matter of time. But I'm glad to have covered this one early on.

The CD bonus tracks (2004 edition) come from a spirited performance, and well worth hearing for the rawness of the guitars and the energy level.

Ownership:

1974 Chrysalis Germany (LP). Acquired in 2021.

2004 Chrysalis (CD). Booklet with history. 5 live bonus tracks from 5/29/74, all from this album. Acquired in 2004.

1974 Chrysalis (MC). Green Ampex hard shell and tape. Old school. Acquired in 2024.

2019 Chrysalis (CD). Box set titled The Studio Albums 1973-1983. No bonus tracks.

First copy: 1985 Chrysalis (LP). Acquired in 1985.

No surprise I own so many copies. And if and when I find the 8 track and reel to reel copies out in the wilds, I'll keep them as well. Count on it.

1985; 2004; 8/11/12; 8/8/19; 6/17/26 (review)

 

Passion (1987) 

Hard to pass up this striking cover. A few years ago I completed my journey through the Chrysalis box set of Trower, which ended two albums prior to this (though I need to relisten and document most of them). Free from commercial constraints I would have expected Trower to let loose here. Instead he couldn't give up the dream. As usual, he recruited an excellent vocalist, but the music itself is mid to late 80s blandola with a slick production. Once again his guitar saves the day, especially on the instrumental 'Night'. He should have just recorded a whole album like that. If he had, this wouldn't be a $5 record with nearly 100 for sale at any one time. The music doesn't match the title nor the cover. Bummer.

Source: 1987 GNP Crescendo (LP)

4/10/24 (review)
 

Twice Removed from Yesterday (1973)

In my notes for Victims of the Fury - written late last year mind you - I stated: "If there's an artist I need an "Original Album Series" CD set of, it's Robin Trower. He's just one of those guys I pretty much ignored throughout my life. And for no good reason, especially considering how much I love Bridge of Sighs, and have so for over 30 years." As if reissue labels read my blog, lo and behold that event happened earlier this year! And I have now secured said box set, and licking my chops as to what I will discover. It will be a slow process, but it has begun. And where to begin? At the beginning of course.

Twice Removed from Yesterday is of course that album, and it's my loss that I hadn't heard it until I'm in my mid 50s, yet I was completely familiar with the artist going back to when I was 15 years of age. James Dewar has one of the all-time great smooth blues rock voices, and of course Trower brings with him the ghost of Jimi Hendrix, one of the rare guitarists to continue down that path as late as 1973. Every track here is a gem and a joy to listen to.

Ownership: 2019 Chrysalis (CD). Box set titled The Studio Albums 1973-1983. The box set is pretty basic, with no liner notes - a big missed opportunity right there. However you get ten studio albums of Trower, the last two with different line-ups. They all come in simple slip covers with original artwork. Acquired in 2019.

7/21/19 (review)

Victims of the Fury (1980)

Robin Trower finally records his successor to Bridge of Sighs. Unfortunately at a time when no one was interested in heavy psychedelic oriented blues rock. There's not a hint of 1980 here. Despite that, Victims of Fury did reasonably well in its day, perhaps better with the modern metal audiences looking for more raw - and less polish. Overall this is a great record with 'The Ring' being the highlight of a strong set of tunes. If there's an artist I need an "Original Album Series" CD set of, it's Robin Trower. He's just one of those guys I pretty much ignored throughout my life. And for no good reason, especially considering how much I love Bridge of Sighs, and have so for over 30 years. 

Ownership: 2019 Chrysalis (CD). Box set titled The Studio Albums 1973-1983.

First copy: 1980 Chrysalis (LP). Acquired in 2015.

11/7/15; 11/21/18 (review); 9/30/19

Also own: For Earth Below; Long Misty Days; In City Dreams; Caravan To Midnight; B.L.T.; Truce; Back It Up

7/21/19 (new entry)

Korai Orom ~ Hungary

Korai Orom 2009

As noted on the 2001 Sound & Vision entry, Korai Orom kept going, and I kept going with them. It was a reflexive response. It was my comfort zone. In reflection, 2005 is about as far as I needed to go, and probably that was also one too many. The music is familiar across all their albums, though hardly plagiaristic onto itself, but rather an extension of a formula. Ozric Tentacles, who have a similar mindset to Korai Orom, still managed to create a few super interesting songs once you isolate the listen to the album itself, and not binge across a few. In trying that with Korai Orom, it doesn't seem to work. There are nine tracks here, so my challenge will be see if any of them transcends the expectation, which would put it in keeper status. I take a similar approach with metal bands. As you can see by the listen dates below, I was here two years ago, but didn't get any notes down. Let's rectify that.

Track 2 is a straight up psychedelic guitar space rocker, similar to the Ozrics actually, and not something Korai Orom has explored all that much as I discuss below. After that, well, it sounds like Korai Orom without much spectacular merit. Track 4 had enough changes to qualify for prog rock, but overall yea, just not enough here to distinguish itself from the others. Some of which I plan on keeping until the end.

Former ownership: 2009 IG (CD). Tri-fold booklet with a band photo. With a video. Acquired in 2009. Downsized in 2026.

2009; 2/7/24; 6/15/26 (review)  

2001 Sound & Vision

Next up in the haven't-heard-since-acquiring series is Korai Orom's 5th album. I would have been well served to have maintained pages like this as I went along because I think it would have been obvious not to keep going with Korai Orom for as long as I did. I purged a couple already and now I need to see which ones I want to keep. I'm fond of the first three albums, as they came at the right time and place for me. After that, they all tend to be blurry memories, including 2005 below (which was recent!).

And that decision will not come easy, as this 2001 outing is proving. They have a very pleasant danceable sound that just keeps the head bobbing. The insertion of heavy guitar and flute help appreciate the musical aspect and also provides much needed dynamics. If only there was more of it.

The reality is this doesn't have any particular track that towers above the rest, so it will probably get scooped out at some point without protest. But for now, I'm good.

Ownership: 2001 private (CD). Digipak with recording details. Includes a video. Acquired in 2002.

2002; 8/11/25 (review)

 

Korai Orom (1996)

This is the album that sits between their debut and 1997, both of which I've discussed here already. 1996 is the stepping stone from one to the other. It's a bit more zoned-in than the debut, but it's more measured than the kinetic 1997. It's also a bit less dance-y than the latter. I'm finding that Korai Orom is a band I must listen to while chilling at night. For dedicated, focused listening, their music tends to drag. In this way, Korai Orom needs to be approached in the same manner as Tangerine Dream or any similar type of electronic music. When hearing in this light, 1996 gets a +1.

Ownership: 1996 private (CD). Tri-fold booklet. This is a situation where the jewel case isn't modular since it has a pre-printed logo on the front piece (the one that usually breaks). Acquired in 1997.

6//97; 1/6/21 (review)

Korai Orom 1997

Korai Orom's 3rd album, the first to have a title (such as it is), is when the group really started to gel. Their combination of EDM, various culture's indigenous music, and fiery space rock proved to be a popular one, and Korai Orom made a nice career out of it. Most certainly their live shows proved to be even more exciting than the studio efforts. For my tastes, 1997 has remained my favorite of the albums I own by the band. It also happens to be their most energetic, so perhaps not a coincidence. The opener sets the mood perfectly with the hyper percussion and shimmering guitars. I can do without the "hoo ha ha" parts, but otherwise it's exactly what Korai Orom are about. This then leads to the best segue of their career, that of track 2 (they had a habit of not naming their songs) - a countdown followed by a blistering sequence of psychedelic guitar, fast percussion, and wood flutes. If that wasn't enough, the following segue into track 3 almost matches it with yet another killer beat and some awesome Moog like synth sounds. Once again the guitar is on fire here. After this it doesn't maintain this momentum (not sure it could have), but the album is still great throughout. Unfortunately 1997 suffers the same fate as all the Korai Orom albums, and that would be that the tracks are too long. Most of these could have been chopped two to four minutes and the impact would have been that much greater. Certainly if the primary purpose of the music is set for dancing, then one can understand this situation for a live setting. But for home listening, the fast forward button starts to look appealing. A minor gripe I suppose, as I still hold 1997 as one of the finest examples of the genre, and it maintains its excellent rating. If you're into bands such as Ozric Tentacles and want to explore a more exotic alternative, Korai Orom's 1997 is the place to start.

Ownership: 1997 private (CD). Tri-fold digipak. Acquired in 1998.

1998 (acquired); 12/22/20 (review)

Korai Öröm 2005

Korai Öröm 2005 is the 6th album (or 7th if one counts the first cassette) from this fine Hungarian band. Though I have dutifully picked up every album they've released (save their last 2013, so total of nine), I can honestly say I recall little about each. The one that had the great impact here is 1997. In recent years I've gone back to the debut (1995) and 2000 - Sound & Vision, and both fell into a similar pattern which I'll describe here shortly. As memory serves, 2005 was one of the very best, perhaps only second to 1997 in quality. After this revisit, I'm hoping that's not the case.

Listening to this CD now, it's as if I'd never heard the album before as I had no prior memory of it. Just the style. And I fear to say that will be the case for most of the Korai Öröm catalog. In reality, their sound hasn't deviated much from the debut, so it's really a matter of the execution and dynamism of each. So what is that sound? Organic psychedelic dance music, for a lack of a designation more official. And what I mean by organic is they they use real instruments verse just samples, synthesizers, and the like. Because of this, Korai Öröm are often compared to Ozric Tentacles, and in some ways that is a fair conclusion to make. Ozric though were more informed by the 70s space rock bands such as Gong and Here & Now than only considering modern dance music. They blended both seamlessly (and often times just went raucous space rock). Korai Öröm takes an Ozric extract and applies it more toward the rave club circuit. The instrumentation and personnel is impressive, with a variety of indigenous wind and string instruments, a raftful of modern keyboards, electric guitar, additional percussion, and a pounding rhythm section. Along with guest female vocals.

After hearing '2005/1' you'll know if this is your cup of tea or not. The band doesn't extend the style palette much, however the music definitely is varied. The biggest issue I have with Korai Öröm is that they should let loose more in the rock sections like the best bands in this genre do (Ozric, Dasputnik, Quantum Fantay, Vespero). It seems they're always holding back, constantly building the atmosphere and not allowing for more ideas and changes to come forth. It also seems there isn't much in the form of music composition but rather Korai Öröm are more about texture and sound. Yes it's still excellent in aggregate, but one begins to think how much better it should have been.

Personal favorites include the pounding '2005/4' and the exotic, psychedelic, and tuneful '2005/7'.

Ownership: 2005 1G Records (CD). Band photos. Acquired in 2006.

1//2006; 7/18/19 (review)

Korai Orom (1995)

Korai Öröm's debut laid down the blueprint that the band continually draws upon to this very day. They were at once influenced by the UK Festival Psych scene, as well as many of the free spirited dance cultures that came about in the 90s. In effect, Korai Öröm are an organic chill out band. While they certainly do utilize electronics as a core component, the separation aspect is the use of real rock band instruments. In particular the electric guitar is a centerpiece, and often times played with in a fiery fuzz tone manner, and sometimes in high octane mode, which creates excitement within the generally low key "chill" environment. The unusual use of trumpet is also a fascinating addition to their sound. The musical themes often borrow from Western Asian and Australasian indigenous traditions, the latter represented by the heavy use of didgeridoo. On their debut, I'm most reminded of Ship of Fools, a band that arrived late to the UK Festival Psych scene and had a similar approach to crossing over with dance. The main drawback on this debut, is that Korai Öröm stretch their ideas a bit too far, and often times boredom ensues. The group were still finding their identity at this point, and hadn't quite seen their potential yet as a dynamic psychedelic rock unit. All the same, there's a solid 30 to 35 minutes here of excellent music (out of 55), and if you're a fan of the band, it's a must pick up.

Ownership: 1995 private (CD). Acquired in 1995.

5//95; 2/24/17 (review)

2000 Sound & Vision

Sound & Vision 2000 is the 4th album from the Hungarian collective Korai Orom. At this point in their career, Korai Orom sounded like a direct cross between Can and Ozric Tentacles, but as played for Rave parties typical of the turn of the century (later to be named Indietronica). It's repetitive, danceable, and yet still very psychedelic rock influenced. Given they are a large scale band that plays real instruments, the music is far more interesting than a DJ with a massive sampler reserve bank. All the same, while the album is most certainly excellent background music, it's not as engaging on close listens as I'd prefer.

Former ownership: 2000 private (CD). Digipak. Acquired in 2000. Downsized in 2022.

2000; 2/6/16 (review); 7/4/22

Other albums I own: Korai Orom 2010

Previously owned: Live '93-'96

2/6/16 (new entry)

Fermata ~ Slovakia

Huascaran (1978)

Another one of those albums from the collection that I haven't heard in close to 30 years. My recollection is this was my favorite of the bunch, so we'll see if that holds up.

The title track opens things up in an epic symphonic prog way. There's vocals, cello, and it's synth heavy. This leads to A2 which is a monster of a track, with a killer riff about 2.5 minutes in. Some pretty mean guitar solos follow. I'm reading some bizarre reviews stating Huascaran is somehow a lightweight fusion album. One would presume they listened to each track before making such a declaration. A2 destroys any notion of the word "light". Side 2 sees the band switchover from prog to fusion. They play the heavy kind, similar to Mahavishnu Orchestra and their ilk. The second part of the title track is the better of the two and features some ripping guitar solos. The keyboard equipment these guys possessed is a dream for 70s vintage gearheads. Huascaran is a concept album built around a devastating earthquake in Peru in 1970 that took many lives, including those from Czechoslovakia. The music doesn't really fit the concept, except it's a powerful statement. So is it my favorite by Fermata? Not entirely sure, but the first three are all essential in my book.

The CD features three bonus tracks, but I cannot determine the provenance of these. There's very few keyboards on the first one (a little piano), leading me to believe it may have been a different era recording. It sounds different, though probably still from the 70s. 'Valparaiso' does sound like an outtake from Huascaran, and is very much in their fusion stage. The final track is entitled 'Perpetuum 1' which presumes it was an earlier composed version of 'Perpetuum III'. It definitely sounds more modern. There's a horn section and the keyboards point to a more modern era. Not to mention Griglak's guitar tone recalling his Simile album from 1991. In any case, all three songs are very good, and make for excellent bonus tracks. 

Now that I look at the Discogs' entry closer, it looks like some of these are from a radio broadcast from 1976. No way the last track is though.

Ownership: 1995 Bonton (CD). Booklet in Slovak. Three bonus tracks. Acquired in 1997.

First copy: 1978 Opus (LP). Acquired in 1990.

1990; 1997; 6/15/26 (review)
 

Dunajská Legenda (1980)

Fermata's 4th album Dunajská Legenda sees the band moving towards the jazz fusion center, which was all the rage back then (though probably two to three years behind the west in retrospect). Opener 'Wlkina' is the typical funky fusion piece, that at first is off-putting, but has a fine mid section. The remainder of Side 1 is quite good, more towards an instrumental prog rock, with excellent melodies and songwriting. Side 2 again gravitates toward the fusion normality. But each track, no matter how trite, manages to squeeze in a few good instrumental passages. In the end, Dunajská Legenda borders excellence, but falls a hair short. A fine album that has aged well for me.

Ownership: 1999 Bonton (CD). The CD can be a bit confusing if not paying attention. The first track 'Perpetuum III' is from their debut album (1975), and even though there are bonus tracks at the end of the disc, this title is not noted as such, and appears to be Dunajská Legenda's opening. It's incongruous to what Fermata were doing in 1980. The reason they did this is, up to that time, the track had not been reissued on CD, so they just added it to this album to complete the task. A kludgy solution at best. Those two other bonus tracks, as mentioned above, are nothing special however. Acquired in 2000.

2000; 9/9/17 (review)

Fermata (1975)

Fermata's debut is a hard hitting fusion album from arguably Slovakia's finest group. Where Fermata creates separation from many of their peers is they never take their eye off of the composition, and actually know how to craft a memorable melody. So it's not just pyrotechnics, though there's plenty of that here too. Some fine psych edged guitar, Rhodes Electric Piano, and fat 70s analog synthesizers to bathe in here. Great start for the band.

Ownership: 1997 Bonton (CD) With Pieseň z Hôľ. Unfortunately this CD compilation leaves off the 11 minute track 'Perpetuum III'. The 1999 CD of Dunajská Legenda does include this piece. And that's the way I own the first album as a whole. Acquired in 1997.

First copy: 1975 Opus (LP). Acquired in 1995.

1995; 1997; 4/15/13; 11/15/14 (review)

Pieseň z Hôľ (1977)

Pieseň z Hôľ sees Fermata taking the debut and amping it up a bit. A little bit more diverse this go round from a compositional perspective, but difficult to imagine fans of the debut - or of the hard hitting Mahavishnu Orchestra styled progressive fusion - being disappointed here. And 'Priadky' has one of those kind of hard driving bass riffs you're not likely to forget soon. What a groove. Great guitar and keyboard work as expected. Another splendid album from Slovakia's finest.

Ownership: 1997 Bonton (CD). With Fermata.

First copy: 1977 Opus (LP). Acquired in 1990.

1990; 1997; 4/15/13; 11/15/14 (review)

Previously owned: Simile

11/22/14 (new entry)

2026 Revisits of prior UMR entries Vol. 5

Wigwam - Being

Dzyan (1972)

Fantasia (1975)

Scapa Flow - Uuteen Aikaan

Agusa - Hogtid

Artcane - Odyssee

Sunblind Lion - Observer

Kayak - See See The Sun

Message - The Dawn Anew is Comin

Joe Farrell - Song Of The Wind

Puzzle ~ France

Puzzle (1983)

---9/1/10

Puzzle is a well executed all-instrumental psychedelic guitar driven album, released at a time when very little of this style was available on the market. Perhaps only Cincinnati's Ra Can Row could be called out during this era. There are some really sizzling guitar freakouts here. And actually a few well-thought out melodies, which is not something inherent within the genre. But Puzzle has one fatal flaw. And it's the only thing keeping me raving about it: The dreaded drum machine. Had they employed a real drummer, I would enthuse more about it. Naturally enough, the keyboards are all 1980's era synthesizers too, though the guitar fortunately remains the focus. A fine album overall.

---6/11/26

That was the CDRWL entry. I since acquired the LP, heard again, and then filed. So here I am once more (Fish anyone?) to enter into the UMR with a fresh listen.

I first read about this album in one of the many dealer catalogs I received in the 90s. The way it was described, talking up the psychedelic guitars, had me very intrigued. I'm sure they used Heldon as a reference too. No one mentioned the drum machines. Funny how that was a bugaboo for me back then, but today they don't distract me much, if at all. In fact I welcome it - from an historical perspective. For a new album I most certainly would expect a human drummer to participate. But for an album from 1983, I can appreciate the era in which it was released, and the constant looking forward to new technologies. Though it should be mentioned there is real percussion deployed, but the rhythms are primarily carried by a drum machine. And its usage here is pretty sophisticated for the early 80s.

Though a group effort, its nigh impossible to ignore Andre Muller's psychedelic infused guitar all over this. As with LS Bearforce and Ra Can Row (noted above), no one was reaching back into the late 60s and early 70s to achieve that tone. There are only three tracks here, yet Puzzle keeps the music hopping in all sorts of directions. In some ways I'm reminded of Tiemko's Ocean, an album that was to come along about seven years later. And Eric Delaunay had no qualms with throwing in electronic percussion here and there. Overall a really solid album and I enjoyed a +1 listen from this session.

Puzzle is a rather difficult album to categorize. Is it prog, fusion, electronic, space rock? The answer is yes. 

This is one of those albums you'd think would be worth a fortune today, but you can still pull this out of France for relative cheap. For my fellow Americans, you'll have to wait for international postal rates to recess back to normal (and they will), then you might want to mail order one. Or fly to Paris and bring it home. Might be cheaper.

No reissues exist as I create this entry on 6/11/26.

Ownership: 1983 private (LP). Acquired in 2013.

9/1/10 (review); 11/27/13; 6/11/26 (update / new entry)

Tonic ~ Germany

This Way (1980)

---Dec 2004

For the late date, this has a remarkably sophisticated sound – similar more to the classic early 1970s Italian prog scene, than anything typically associated with German rock. Complete with choir mellotron, organ, bells, speedy guitar solos, flute, sax and complex meters. When the vocals kick in, I'm reminded of Grobschnitt's Rockpommel's Land era. 

---6/11/26

Since that first review, taken from a cassette dub sent to me in the 90s, I'd acquired the LP and squeezed in a couple of listens. A mainstay of the CDRWL (reissued only a couple of years ago), it now makes its debut on UMR. 

A2 has a few incongruous Italian styled breaks, with ripping guitar, which comes as a surprise to the listener, as the lengthy A1 is mostly subdued melodic prog with sax. Same with the second half of A2. 

B1 and B2 have been mislabeled for years apparently, as no one took the time to look at the record (or listen to the music). The flute solo is clearly on the opening of the flip, and is noted as such on the label itself. The back cover has it listed incorrectly. No idea if the reissues fixed the placement of tracks. To add, B1 is a great jazz fusion number with plenty of twists and turns. B2 has acoustic guitars and Mini-Moog in the spirit of classic Yes. Lots of sophisticated rhythms here. And yea, the vocals have more in common with Grobschnitt than Jon Anderson.

The title track seemingly gets us back to the laid back opener. But then the mellotron and woody bass enters, while the rhythms go oft kilter. The closer is more Genesis than Yes, with melancholic acoustic guitars and a heavy dose of mellotron. Features a fine guitar solo, though he's more in line with a hard rocker than Steve Hackett.

Overall a fine progressive rock album, not at the highest level, but certainly a solid effort worthy of your time.

Ownership: 1980 Peak (LP). B1 and B2 are reversed on the back cover. Acquired in 2015.

1997; 12//04; 2008; 3/1/15; 6/11/26 (update / new entry)

Madrugada ~ Italy

Incastro (1977)

---3/21/07

Incastro improves on the debut in every way. Gone are the singer songwriter moments, and in its place is a more expanded instrumental approach, almost towards space rock and jazz fusion in places. Violin, flute, sax, and electric guitar are added here to great effect. Locanda Delle Fate was the last hurrah for major label Italian prog, but this can’t be far behind on that list (remember Italy’s best label of the time, Grog, wasn’t a major). 

The CD adds about 30 minutes of bootleg quality bonus tracks, that shows the band firmly in jazz fusion mode.

---6/10/26

Strange album, Madrugada's second and last effort is. Like the debut, it's very inconsistent. Rather than adding in SSW bits, Madrugada goes experimental. Even the more traditional progressive rock songs will bolt on avant garde moments, and you hear this on A1, B1, and B4 which are arguably the best tracks here (along with A2). B2 is an awful attempt at a pop song, and B3 is largely a waste of time, albeit short. But their mixture of space rock and fusion is fascinating, and there are sublime moments to be found.

Ownership: 1977 Philips (LP). Acquired in 2005.

11//05; 3/21/07 (review); 6/10/26 (update)
 

Madrugada (1974)

---2/22/07

Madrugada's debut album is a diverse mix of styles. On Side 1 the album opens with a light instrumental, which is then followed by some rather straightforward singer songwriter material - and quite off-putting and dull at that. Side 2 is far more expressive with elaborate jazzy progressive rock compositions, including some wonderful Moog runs. Of course, it’s the latter half that holds my interest. This is a quintessential Italian sounding album, so if you’re a fan of all that might encompass, you’ll want to hear it for sure. Otherwise, this obviously isn’t the perfect place to start.

Former ownership: 2006 AMS (CD). Papersleeve gatefold. Liner notes in Italian and English. The latter was done by me, but was accidentally credited to a friend of mine. Acquired in 2006. Downsized in 2018.

2/22/07 (review); 3/14/10 (update); 5/30/18

3/14/10 (new entry)