Sirius ~ Germany

Running to Paradise (1982)

---2/23/10

Sirius' debut is one of the better Genesis inspired albums out there and compares favorably to other German bands like M.L. Bongers Project, Ivory, or Neuschwanstein. As far as these kind of albums go, Sirius is better than most of their contemporaries. In fact, had they been part of the UK new wave of progressive rock, then I could imagine them having the same kind of success as IQ did.

---10/18/26

That was my CDRWL entry, so time for a relisten and to add to the UMR. What's interesting about Sirius is that their music is very much similar to the upcoming neo prog movement out of England. And yet their instrumentation is analog in the 70s tradition, including organ, flute, and violin. The latter trait recalls Hoelderlin at the time of Clowns and Clouds, which Running to Paradise perhaps resembles the most.

If classic Genesis is your bag, hard to imagine Running to Paradise not satisfying on some level. It's my bag, so yea.

No reissues exist as of 10/18/26.

Ownership: 1982 Brutkasten (LP). Gatefold with lyrics in the interior. Acquired in 2010.

1996; 2008; 2/23/10 (review); 10/18/26 (update)

Three Bushes review here.

10/18/26 (new entry)

Wapassou ~ France

Genuine (1980)

After the classically oriented, and somewhat stuffy Ludwig, Wapassou completely shifted gears. For a band that eschewed a drummer for most of their career, it's surprising to hear them return one year later with a funky, borderline disco album. It's so different you wonder why they didn't change their name to promote a new start. 

Once you understand that this album is nothing at all like their first quattro of works, you can begin to get your ears around what they're trying to achieve. This is my second session with the album, my first upon acquisition four years ago. I remember playing the album over and over, as it had a pleasant sound, not far from 80s new wave, yet still entrenched in the late 70s dance floor ethos. I wonder if the band had swapped monikers would it be more sought after today? There's some wonderful analog synthesizers moving it closer to the boogie funk genre. I enjoy newly hired Christine Maillard distinctly sweet French vocals. Yea, true, she can be overwrought at times, but I find her charming. The primitive keyboards of their 70s albums, along with violin, are still present and accounted for. All this leads to the final 11:30 minute track which is a throwback to their earlier style, still with drums though. This serves only to frustrate everybody - the long time fans seeking more of it; and the new audience who isn't particularly interested in haunting prog rock. For me it remains the highlight of the album, but then again I'm an unreconstructed progger at heart.

In all my years of collecting, no one talks these later Wapassou albums up. From a prog rock perspective I can understand why. I got this for all of $2 on ebay, so I couldn't resist at least trying it. Glad I did. In all sincerity, I appreciate this album more than Ludwig, despite its obvious try for broader acceptance. 

The cover art is genuinely (so to speak) bizarre. What the hell is that kid doing anyway? Could only be from France. 

Ownership: 1980 Sterne (LP). Acquired in 2022.

4/20/22; 10/16/26 (review)
 

Ludwig (1979)

In many ways, this is Wapassou's most artistically accomplished work. The classically influenced 34 minute title track is dense and complex, with Wapassou demonstrating their musical maturity over the course of both sides of the LP. And yet, I found myself missing the haunting atmospheres, and mysterious sounds of the previous three albums. Perhaps had they broken this composition into smaller tracks, where they could be dissected individually, it may have worked more smoothly as a whole. As it stands though, the sprawling piece can be impenetrable at times. For fans of the classic Wapassou sound, there is no doubt it is an essential purchase, but it does seem to be a bit too formal I'm afraid.

The CD features a six minute bonus track, which is a separate sound from the album proper. It uses real drums but sounds like a later effort. 

Ownership: 1979 Crypto (LP). Acquired in 2015.

First copy: 198? Omega Studio (LP). Acquired in 1990.

1990; 1995; 9/22/15 (review)

Messe en re Mineur (1976)

My notes on the debut state: "Wapassou are certainly one of France's most innovative bands of the 1970s. And that's saying something given the competition. Basically Wapassou are a drummer less trio, with Crumar organ, piano, synthesizers, violin, guitar, bass and female vocals. Haunting, atmospheric music."

Welp - that's about it! They've just stretched the concept to one 40 minute composition. The female wordless vocals are an acquired taste, but they are memorable nonetheless. And very melodic. There's really no other group like Wapassou during their prime. The fact they managed a three album run (and maintaining distribution from RCA) while playing music such as this - is rather remarkable. Even for France, a country known for avant-garde artistry, that's not typical. 

Ownership: 1976 Crypto (LP). Acquired in 2014

First copy: 198? Omega Studio (LP). Acquired in 1990.

1990; 10/10/11 (review); 2/8/23

Wapassou (1973)

Wapassou was certainly one of France's most innovative bands of the 1970s. And that's saying something given the competition. Basically Wapassou were a drummer less trio, with Crumar organ, piano, synthesizers, violin, guitar, bass, and female vocals. Haunting, atmospheric music. 'Rien' is chilling with Karen Nickerl's disturbed child-like vocals sung over a pervasive and doomy climate, and is arguably the album's highlight. 'Musillusion' is essentially Wapassou's anthem, and contrary to the prior song, is uplifting yet still manages to be melancholic. Side 2 of the album has more of a traditional rock band aesthetic with the inclusion of drums, something they were to eschew after this. For a band such as Wapassou, the additional rhythm and percussion is unnecessary for what the band is attempting to convey. Over the years, Wapassou's debut has entered into the absolute top tier of my album collection. A hidden treasure as it were. It sneaks up on you. One I think will get its ultimate recognition long after we're all dead.

The cover is a personal favorite and is a centerpiece of my "wall of albums". One of the last LPs I would ever sell. A true original LP is very rare. Omega Studio is a re-branding of Prodisc, so it's in effect a second pressing. 

All the CD reissues feature two bonus tracks which is a 45 from 1974 that is similar to side 2 of the album proper, with a more obvious rock context.

Ownership:

1987 Omega Studio (LP). Acquired in 1990.

2015 Lion Productions (CD). Digipak with complete liner notes in English, which I believe is the only release that isn't in French. This is the 3rd CD reissue for me to obtain (the others were the Si-Wan jewel box release and the Belle Antique Japanese papersleeve). This appears to be the definitive reissue. Acquired in 2023.

1990; 1997; 1/27/10 (review); 8/12/12; 8/23/23

Also own: Salammbo

1/27/10 (new entry)

Spooky Tooth ~ England

Spooky Two (1969)

As mentioned on the first post, I found this album on cassette at a garage sale of all things. The tape was sitting on Side 2, so we'll start there.

Fun to hear B3, as I've only known that song from Judas Priest's cover of it some nine years later. I've heard it dozens of times, so the original seems so tame in comparison. But one can see why they covered the song, as it's riff heavy. And it's not like the Priest had a Hammond organ, so there is some distinction.

Otherwise, I'm not getting too much out of this title. It reminds me of the lost year of 1970 albums coming out of North America. It's proto that I guess lol. A mix of blues rock, gospel, and mild psych. B1 is a good psych tune, and I recognize A1 from some radio airplay years ago. A4 has some decent guitar jamming. The rest doesn't go anywhere for me. I prefer the other two titles below, and by some margin.

A&M (MC). 80s pressing.

10/15/26 (review)   

Ceremony (1969)

If you read the below review first, this didn't quite go as planned. I still haven't heard my cassette of Spooky Two, but I found this LP at the Denver record show last week for a couple of bucks, and I fast tracked it to the front of the listening line.

Ceremony is the album they did with musique concrete legend Pierre Henry. It's more integrated than the Deep Purple Concerto album I just reviewed, but not by a whole lot. Spooky Tooth performs a mostly heavy blues rock that can get pretty freaky in places. This is Spooky Tooth at its best, and we hear this sound mostly on A1, B2, and B3. Some really great guitar jams. The music apparently was written for a Christian mass of some sort. The lyrics are heavily Christian, like a record coming from that genre. I wasn't aware Henry was so much of the faith. I'm rather certain Spooky Tooth were not, and they tried to disassociate themselves from top billing here. The album had potential to be a proto Krautrock classic. Imagine Pierre Henry pulling a Klaus Schulze, and the instrumentation lets loose for the duration. But it's way too ordinary for that, and blues rock is the end conclusion. An interesting album, though not something I need to keep. It did inspire me, however, to create a page for the band.

A&M (LP). Later 70s pressing.

4/18/26 (review)

It's All About (1968) 

Spooky Tooth is another one of those bands that I've known about for most of my record collecting life but never actually heard. Found a nice pink Island copy up in Denver. It wasn't cheap but it was a really good deal, and it's hard to pass on these early UK pressings. I would describe the music as a type of psychedelic soul. From the latter comes the passionate crooning. From the former is the period sounds and instrumentation. Nothing really blew me away here, but I found it a pleasant listen throughout. Also I came to learn that one of the album's best tracks 'Too Much of Nothing' is only on these early pressings. It was swapped out with something apparently lame on the subsequent A&M releases. I've been told their second album is much better. I have it on cassette of all things, so I'll get to it eventually unless I find the LP first. At that point I might build out a page for them. 

Ownership: 1970 Island (LP). Pink "i" label. Acquired in 2025.

4/29/25 (review)

4/18/26 (new entry)

Bill Bruford (& related) ~ England

Bill Bruford's Earthworks (1987)

Since I already added a page for Bruford, I might as well consolidate his other albums here as well. Something like Bill Bruford's Earthworks would normally find its way to the Journals otherwise.

Which is not to say I somehow don't like the music. It's absolutely fine, though it's not my favorite era nor my favorite flavor of jazz fusion. Getting some real ECM vibes here, that pervasive "need to be an adult" sprinkling that underground artists of the 70s felt compelled to do. The wild and wooly previous decade had passed, and everyone got a haircut, and were provided far better studio accommodations while at it. The technology had also improved, much to the detriment of the actual sound being projected. If only a raw psychedelic edge was applied, then it would be curious to hear the music in that manner.

This CD was part of a large grouping on ebay, of which a few of the titles were of interest to me. The rest I treated like throw-ins, like this title, and I'm certainly happy to check them out as I go.

I met Bill Bruford once. It was after a King Crimson concert in Denver circa 1995. We had one those backstage pass stickers. I've never been one to be star struck but my running set were all about it. He was certainly affable. As I reflect, I do recall having a certain "wow, I'm having a 1:1 conversation with Bill Bruford" moment. I tried to be respectful and offer up a more meaningful conversation, though I don't think anything I said captured his imagination. I was put-off by some of his remarks at the time. Some years later, as I thought about it further, I became sympathetic to Bruford. Night after night, talking to the same ol' prog dorks, about the same ol' crap. Though I tried not to be that, I'm rather certain I was just that. He was doing his duty and answering questions in a perfunctory manner. Just like sports figures do today. Tough business.

1987 EG (CD). Booklet with photos and a high brow jazz essay.

10/14/26 (review)

Bruford - Feels Good to Me (1978)

Somewhat typical "all star" cast gathering from the late 70s. The good news here is the strong Canterbury component brought on by Dave Stewart, Annette Peacock, and Neil Murray. I don't really hear any of Bruford's former bands Yes or King Crimson here, which is not a problem. At times the album seems on the border of greatness, but it often falls into the trap of many solo albums - too many disparate ideas and styles. It's a borderline Gnosis 10 to 11, but yes, I have to admit it is excellent on the whole, and much better than most that tried this very thing. Still... it seems it should have been better.

Ownership: 1994 EG (CD). Booklet with liner notes. Acquired in 2014.

10/18/14; 12/20/18 (review)

Also own: Bill Bruford's Earthworks - Random Acts of Happiness

Previously owned: Gradually Going Tornado

12/22/21 (new entry)

The Next Morning ~ USA ~ Brooklyn, New York

The Next Morning (1971)

The Next Morning are often compared to Jimi Hendrix, though they are much more hard rock influenced than psychedelic I'd submit. Now it could be said that Hendrix himself was moving in this direction, but I hear The Next Morning more in line with other early 70s American hard rock outfits. Heavy guitar, fuzz bass, and Hammond organ define their sound. I think given their unique Caribbean background, they had a different perspective than other groups of their ilk. You can even hear fellow Brooklyn Caribbean musicians Mandrill in their sound, minus the funk angle. Supposedly Columbia was interested in signing them, but I hear The Next Morning as a bit too primitive and amateurish for a major. They did ultimately sign with Calla, a subsidiary of Roulette. Not surprisingly, the album didn't sell all that well, hence its rarity today.

Though The Next Morning was founded by two immigrants from Trinidad, both were settled in Brooklyn and formed the band there. So they're really an American group.

Ownership: 1999 Sundazed (CD). Booklet with historical liner notes, lyrics, and recording info. Acquired in 2000.

2000; 11//04; 10/13/26 (review)

Cortex ~ France

Troupeau Bleu (1975)

---2009

A very fascinating jazz funk record. While not the most sophisticated album you’ll ever hear, it absolutely kills with breezy melodies, tribal / funky drumming, and the soft / seductive French female vocals. Nice driving bass and electric piano. The title track is sublime as is the catchy 'Mary et Jeff'. Other highlights include A5, B1, and the much sampled B3. Sits somewhere between the Belgian Canterbury Zeuhl group Cos and the more creative efforts of the NYC disco act Chic. 

---10/11/26

I played this CD quite a bit when I first purchased it. Troupeau Bleu is such a pleasant listen, and it's short, inviting multiple playbacks in a session. 16 years later, and I had a similar experience raising the grade to a +1. I wasn't aware of Sergio Mendes' work in 2009, but it becomes apparent how much Cortex borrowed that sound. The wordless and / or foreign female vocals, the friendly confines of Bossa Nova (or Samba in this case), and the uplifting melodies. Added is a jazz rock component that Mendes himself had experimented with on Primal Roots.

The CD adds one short bonus 'Jazz Dance' which is simply a variation of 'Mary et Jeff'. Nothing revelatory.

Ownership: 2008 Underdog (CD). Digipak with recording details. Acquired in 2009.

11/19/07; 1//09 (review); 3/14/10; 10/11/26 (update)

   

Volume 2 (1977)

Many, many years ago I heard Cortex's 3rd album Pourquoi? and trashed it off as disco, never bothering to return to the band name again. Now I'm wondering if there wasn't more there, as Volume 2 could just as easily be considered disco. But on close inspection there is so much more happening here, it would be a tragedy for fans of the French fusion sound to ignore. Sure there are the fat beats, especially on the opening track, and the requisite white-boy funk track to follow. But as the album continues, the beats become more subtle, with plenty of jazz fills, while the bass player introduces some Top / Paganotti moves. Horn charts, tortured electric guitar solos and piano / Rhodes leads began to dominate. And when the flute takes over... oh, those melodies will be forever etched. This is a really good one and you can boogie on down with it too. I can go for another helping of this.

Ownership: 2002 Follow Me Records (CD). Triple fold-out with liner notes. Acquired in 2006.

3//06; 2/27/10 (review)

Previously owned: Pourquoi. Need to revisit this title for certain.

2/27/10 (new entry)

AirSculpture ~ England

Impossible Geometries (1995)

---Apr 2005

First ten minutes are more in the ambient field, but they blast out with an incredible sequence, thus placing their stamp on the EM marketplace forever. Overall, this may be their weakest album, and I think that has more to do with the fact they haven’t bought all the cool equipment yet, especially on the analog side.

---10/4/26

This is where it all began for one of the more prolific Tangerine Dream styled English trios coming out of the 90s. I had called out Impossible Geometries as possibly their weakest album, and that may be the case. But it is their first and it remains a strong title. I'm inclined to keep this, and we'll see where the other two remaining titles land after evaluation.

Ownership: 1995 Neu Harmony (CD). Booklet with liner notes. Acquired in 2005.

4//05 (review); 10/4/26 (update)

 

Thunderhead (1998)

Airsculpture were one of a handful of Tangerine Dream revivalists coming from Europe in the late 90s. All of their albums are very good and consistent with the Berlin School aesthetic. Airsculpture are less distinctive than their brethren such as Redshift, ARC, Radio Massacre International, and Free System Projekt. This was the first one I bought by them, but I think I'll let it go.

1998 Neu Harmony (CD). Acquired in 2001. 

2001; 9/5/24 (review)
 

TranceAtlantic (2005)

Of the three prominent UK based Berlin School electronic revivalist groups, AirSculpture were the most purest. That is to say, they never ventured beyond the keyboard trio format. No forays into space rock, or modern electronics. No real drums, or electric guitar. Nope - just synthesizers. So for my tastes, they were the least interesting of the bunch, though I own all their works to the point of this album, as they certainly are very good at what they do.

Playing on another popular theme, this is AirSculpture's trip-to-the-USA album. Whereas fellow countrymen Radio Massacre International weighed in with Solid States, an album highly influenced by Tangerine Dream's Encore, AirSculpture's schtick was the use of acoustic piano that was procured for them onshore. Which I quite liked personally, and a rare deviation for the group. Piano is an instrument that works well in electronic music, providing the warmth and elegance missing in what can be a sterile genre if not done correctly. The album is over two hours long, and each disc opens with a lengthy piano section (I didn't time them, but they're not too long, just the right amount), followed by sequencers, and later, improvisations. That was their stated intention, and pretty much that's what these live concerts are. Two hours is a lot of music, so it's not the kind of album that captures your undivided attention for long stretches. It works better as a soundtrack to a country drive in the evening, or a quiet Sunday afternoon of introspection.

TranceAtlantic was pretty much the last hurrah for AirSculpture from a traditional release standpoint. It was their final CD release for Neu Harmony. The band is still active, releasing only downloads and CD-R albums, which is a pity (there are a couple of exceptions). I stopped here with AirSculpture as well, as it didn't seem the band were going to progress beyond the boundaries they set for themselves. Not necessarily a fair statement, since I haven't heard their albums of the last 12 years, but one based on observations of their first decade together.

1997 Neu Harmony (2xCD). Acquired in 2004.

9//04; 2/26/17 (review)

Also own: Attrition System; Quark Soup

Previously owned: Europa, Fjord Transit

3/4/17 (new entry)

2026 Revisits of prior UMR entries Vol. 11

Tusmorke - Underjordisk Tusmorke

Love Cry Want (1972)

I Califfi - Fiore di Metallo

The Bridge - Overdrive

Gabor Szabo - Live With Charles Lloyd

Mediterranea - Ecce Rock

The Next World - Symphonic Rock

Acintya - La Cité des Dieux Oubliés

Charisma - Beasts and Fiends

Mahoujin - Babylonia Suite

Hoelderlin ~ Germany

Hoelderlin (1975)

Hoelderlin's second album came three years later after their debut, and is quite a departure in sound. Opening up with a mellotron drenched prog rock instrumental, it's clear they've moved on from their Krautrock inspired folk sound. While the second track is folk based, it's more Jethro Tull than Emtidi or Broselmaschine. There are elements of Traum on A3 with its dark folky presence, though most of the composition is of a symphonic prog nature. A4 has a Genesis flavor due to the vocals, though it's a relatively straightforward song. This leads to the side long 'Deathwatchbeetle'. If there's any doubt where Hoelderlin's heart is, then this track underscores the point that they are ensconced into the prog world. Genesis remains a strong presence in their style at this stage.

Ownership: 1977 Spiegelei (LP). Acquired in 1993.

1993; 1995; 1998; 7/8/06; 10/3/26 (review)
 

Rare Birds (1977)

Rare Birds follows the unique Genesis meets cosmic / space rock hybrid of Clowns and Clouds, with yet another difficult-to-pin-down progressive rock album. The compositions are increasingly more accessible, with a certain soft lens focus coloring their sound. Viola is clearly their defining instrument at this point. Vocals are airy and melodic. The songwriting is excellent, and given the right commercial backing, Hoelderlin would have been household names. From a prog fans standpoint, the album's highlight is the driving instrumental 'Necronomicon'. This is an album that has grown on me tremendously over the near 30 years I've been acquainted with it. Definitely not an "immediate" release, so something to consider if you're encountering the music for the first time.

Ownership: 1977 Spiegelei (LP). Acquired in 1987.

1987; 7/10/07; 8/14/12; 10/11/15 (review); 2/7/23

Clowns & Clouds (1976)

Clowns and Clouds, Hoelderlin's third album, is a diverse work from this classic 70s German symphonic progressive rock band. No doubt Genesis is a major influence here, especially on the 'Clowns' side (tracks 1 to 3). 'Madhouse' could easily have been lifted from Genesis' Trick of the Tail, but with the addition of viola and squealing sax, which gives it an entirely unique sound. 'Your Eyes' is interesting to me, because it sounds like something you'd hear on a late 70s / early 80s Alan Parsons Project album, though the instrumental sections are much more progressive rock oriented. The 'Clouds' side is considerably more unique and is what makes this album special. Here, Hoelderlin offer up a more laid back and cosmic rock music. Violin, flute, sax, Rhodes, synthesizers, acoustic + electric guitar, and a steady rhythm section make for a serene and beautiful experience. Difficult to find comparisons for this side of their music, but perhaps the instrumental sections of Novalis' second album and Dawn-era Eloy can provide some context. The cover features a nice water painting.

Ownership: 1976 Spiegelei (LP). Acquired in 1993.

1993; 1995; 5/8/12 (review)

Also own: Holderlins Traum; Live Traumstadt

5/8/12 (new entry)

Steve Hillage ~ England

L (1976)

I was late to the party on getting the scent regarding Fish Rising. But I was really late in obtaining L. I remember seeing this title in the used record stores while in college during the middle 80s. For whatever reason, it didn't capture my imagination, so I left it there. I'm sure I heard the album prior to 2014, but I couldn't remember anything about it. Well, I could say the same thing now, as I revisit the title for the first time in 12 years.

The album opens up quite unusually with a cover of Donovan's 'Hurdy Gurdy Man'. This is followed by a space rock jam supposedly based on the song, though there's no musical evidence of a connection. It's quite spirited, and takes Hillage's You-era Gong style to a similar spot in the galaxy. It becomes clear at this point that there will not be a Canterbury component as on its predecessor. Rather Gong becomes front and center. The music is a mix of cover songs and Gong styled space rock jams. It's this latter sound that Ozric Tentacles would take forward into the 80s and beyond. There's about 25 minutes of really great music, and the remainder is a bit tedious. Not a bad average, and given its influence on future generations, the argument is strong that the album remains in the collection even if it doesn't always pass the bar.

The CD offers three bonus tracks, including an instrumental backing track to The Byrds' 'Eight Miles High', certainly a better fit musically than the Beatles and Donovan covers that made it to the album. The other two bonus tracks are worthy as well. The LP is still a cheap commodity here in the States, giving the CD the edge in both content and marketability.

Ownership: 2007 Virgin Europe (CD). Booklet with historical liner notes, photos, memorabilia, and recording details. Acquired in 2014.

11/22/14; 9/29/26 (review)

Fish Rising (1975)

Steve Hillage's debut is sort of an amalgam of You-era Gong and Hatfield & The North. Certainly the godfather of modern space rock, Hillage's group looks like a proto Ozric Tentacles, complete with wool caps, goofy names, and crazy song titles. Then there's Dave Stewart, probably the last guy to go in for such tropes, though he has history with Arzachel doing just that. With Hillage. Ah what the heck, one more time going out getting high with the boys (and girls) from school before getting serious. Well, sort of serious. So yea, Canterbury goes space rock. A combination that can be nothing but great, especially if one sticks to protocol. And they did.

This is one of those albums I somehow missed in college, but my running set in the early 90s showed me the way.

Ownership: 1975 Virgin UK (LP). Lyric insert and a label audiophile inner. Acquired in 2014.

First copy: 198? Virgin (CD). Acquired in 1992.

1992; 12/27/21 (review)

Also own: Green

Previously owned: Live Herald; Rainbow Dome Musick

12/27/21 (new entry)

First Aid ~ England

Nostradamus (1977)

---2/9/11

OK, I've looked all over my LP for evidence. The label says 1976 and the gatefold cover says 1977. It just can't be. It has to be 1971 right? Even the old style Decca label seems ancient. Everything about it looks and sounds from another era. Did Decca have this one sitting in the vaults - perhaps mislabeled, and decide to release it six years later? Nostradamus, as you can imagine, is a high minded concept album about the supposed fortune teller. Complete with orchestrations, narration - and long guitar / organ jams. Intertwined with melodic pop songs of course. Right on Brother! If this sounds like something out of the Moody Blues or Salamander playbook, well then, you win first prize in the name-that-band sweepstakes. Of course, given this kind of anachronistic behavior, I think it's great. 

---9/29/26

That was my CDRWL entry. Time to enter into UMR while enjoying a revisit. More about the date, as Discogs had it listed as from 1976. For my correction submission notes, I added: "The dates on the label say 1976, but inside the gatefold it is 1977. Further, keyboardist Keith Parkinson offered this on RYM: "This album was recorded in 1975. Unfortunately, this was shortly after the release of a book about Nostradamus. The author of the book tried to sue Decca for copyright infringement. The author was unsuccessful but this delayed the release of the album till January 1977.""

In reading this, Parkinson (who was responding to my review actually) clearly was making the argument the album was relevant for 1975, but I'd beg to differ. It really does sound like a Moody Blues album circa 1971, had they focused on a prog rock theme, versus striving for hits.

I find music like this enjoyable from a nostalgic perspective, including the sentimental melodies. I suppose a band like Strange Days, heck even Kestrel, were peddling this kind of sound as late as 1975. So I can see Parkinson's point of view a little better. It's a nice title, one that I will certainly hold onto. Yet it would be a long time before I pulled this out as a supreme example of prog rock of the 70s.

Of interest, in the olden days of the rare prog catalogs, this album was sold with the title First Aid by the group Nostradamus. In fact, I think I bought my copy with that designation.

Ownership: 1977 Decca (LP). Gatefold. Acquired in 1995.

1995; 2/19/11 (review); 9/29/26 (update)

No reissues exists as I enter this on 9/29/26.

9/29/26 (new entry)

2026 Fusion / Jazz Journal Vol. 5

*Weather Report - Sweetnighter. 1973 Columbia (LP). As with Metheny, Weather Report is not a band I have gravitated to prior. According to my database, I've parted with all five albums I've heard by them. All come from recent listens / re-listens. No matter, as I will continue to pick up any title I haven't heard prior, and some of their early albums bring in some revenue. Sweetnighter is their 3rd studio release. Have I finally found the Weather Report album I've been looking for? I think so! And, no surprise, this is the highest rated studio album from my Gnosis compatriots. RYM has it second behind Black Market, an album I have yet to hear. ProgArchives puts it in third behind Black Market and Mysterious Traveler. The latter is good for sure, but nothing distinctive. So why am I enjoying this one more? I like the funky rhythms for one thing. It really has a deep groove. And kudos to Zawinul for turning his electric piano into a wah wah guitar. Wayne Shorter's sax sounds more like Tim Belbe of Xhol, which is the perfect tone for this kind of music. No squealing and skronking. And this is a long way from their more measured late 70s works that could have, or should have been, on ECM. Definitely need to hear Black Market, but at least I have one representative from Weather Report, which has been my wish from the beginning. (9/28)

Pat Metheny Group - Offramp. 1982 ECM (LP). I debated putting together a page for Metheny, since his albums come through here from time to time. They sell well at the shows or at the shop, so I pick up every single one I find in the cheap bins. But I'm not really a fan, struggling to keep even one, as of this date anyway. I just realized I haven't even taken notes on the albums I have heard by him. Including Offramp, an album I've found at least three times since 2019. The problem is I've used up all my good material on Metheny already (the Dan Marino card was a good one Genius Hans). That is to say... I have nothing to say really. It's the ECM sound for the crowd that went from 70s wild childs to 80s businessmen. It's quality music for certain. It's just so... predictable. And dull. (9/28)

*The Halls of Music - For a Five Dollar Bill. 1973 private (LP). My intention was to add this to the Unknown Vinyl Records blog only to find out it really isn't that obscure. I'm not sure why I didn't see it in the first place. All the same, I would have picked this up anyway. It's a private release from Albuquerque with only three performers: John Hall on Organ, Electric Piano, and Pedal Bass. Kaye Pearson-Hall on Vocals, and Jay Blea on Drums. With that lineup, it could be prog rock to lounge. I find the descriptors on Discogs and RYM misleading here (lounge, funk). To me this is Hammond organ based soul jazz not that far from what Shirley Scott or Jack McDuff would release. It's mostly instrumental until the end of Side 1 when Pearson-Hall brings in her Anita O'Day styled vocals and that continues through the flip. Neat little local area piece worth keeping. (9/9)

* - Keeping for the collection.

Nektar ~ England

Remember the Future (1973)

I recently read someone comparing Remember the Future to Jethro Tull's Thick as a Brick. I thought that was very insightful. He was clear in stating the music wasn't similar, but rather the idea of two side long cuts forming one composition, and from veteran bands. Both who seeked out a new musical landscape for themselves. As noted on the Journey To the Centre of the Eye review, Nektar were very much a UK styled space rock group. With some German sensibilities, but not a Krautrock band really. I have yet to review A Tab in the Ocean but my recollection is that Nektar was beginning to turn the dial from space rock to prog rock, and likely hit their peak in doing so. They are now on the prog rock side of the lake. Many point to Pink Floyd as an influence here, but I just don't hear it. Floyd never had this kind of urgency in their music. Or at least not since their 60s psychedelic freakout days.

I appreciate the focus on songwriting here, and I like the way the album flows, though it isn't really coherent. I don't hear a central theme, the music just goes from one idea to another, similar to modern prog metal bands.

The more generalist RYM has this as Nektar's highest rated album. Interesting then, that the two prog leaning sites Gnosis and ProgArchives favor A Tab in the Ocean. I'm not sure where I land, though it's almost certain Tab will be my favorite too. Second place? At the current time I'm thinking both Journey Eye and Recycled get the edge here.

Ownership: 1973 Bellaphon (LP). Gatefold with lyrics and photos. Back cover has recording details. Acquired in 1990.

1990; 2002; 9/26/26 (review)

 

Recycled (1975)

I've referred to this album a couple of times in my reviews below. Essentially Recycled is a progressive rock comeback album, done at a time when such things would have been rare. It was to be a one-off relapse, as it were, and a darn good one at that. Starting with a symphony of tympani, Nektar makes no bones about the fact that they intend on going all-in for prog rock for the memories. Side 2) takes on an earlier outlook from the band, exploring space rock themes with a touch of funk, giving its only nod to commercialism. 

Ownership: 1975 Bacillus (LP). Poster insert. Acquired in 2015.

First copy: 1976 Passport (LP). Acquired in 1992.

1992; 12/31/12; 11/19/15; 12/16/25 (review)

Journey to the Centre of the Eye (1971)  

Given that Nektar were formed in Germany and the imagery they put forth on their debut, I have a tendency to lump this album in with Krautrock. As I mentioned on Emtidi's Saat album the other day, you know Krautrock when you hear it. And Journey to the Centre of the Eye isn't it. Later albums are more obvious on this front (being more overtly progressive rock), but the debut is more experimental. In a similar way that same era Pink Floyd and Hawkwind are. This is space rock through and through. Perhaps to its detriment. Some of the downtime portions could use some of that Krautrock atmosphere that's missing. It's still a darn good listen with 'Burn Out My Eyes' being a particular highlight. In fact Side 2 does overshadow the flip, leaving a strong impression afterward. Before last night, I would have argued that Journey to the Centre of the Eye is my favorite Nektar. Something tells me one of their next two will be now.

CD includes their 1972 single 'Do You Believe in Magic' and '1-2-3-4'. Both good tunes but not enough to keep the CD for. Both of these were extended on the Sounds Like This album.

Ownership: 1972 Bacillus (LP). Gatefold. Acquired in 1988.

1//88; 2/13/07; 8/26/23 (review)

Down to Earth (1974)

As with Magic is a Child, I hadn't actually heard Down to Earth until now. Or I probably did in snippets and walked away in disgust. This is exactly the type of album that would not have appealed to me at age 21, or 31, maybe even 41. But at 51, I hear it in a different way. Managing expectations is everything, and it's not unreasonable for someone to approach this expecting to hear the sounds of the album before (Remember the Future) or after (Recycled). In fact, the latter album probably has more to do with the negative impression in modern times, since it was rare for a band to make a "comeback" like that in the 1970s. Just about every progressive rock band found their way to commercialism over time. 1974 was perhaps a bit early to jump the shark as it were, but in retrospect this album was actually ahead of its time, though I'm sure audiences back then were quite baffled by it. So in the end, had the band renamed themselves Ratken for this album, it probably would have been received better.

And after hearing it intently, I was quite surprised at how progressive it actually is. It's tighter and doesn't possess the long stretches of progressive space rock, so on the surface it seems less complex. 'Nelly the Elephant' is startling in that it sounds more like a horn rock track from 1970. It reminded me of the UK band The Greatest Show on Earth actually (circus themes?). 'Early Morning Clown' wouldn't be out of place on a Jonesy or Fruupp album. And 'That's Life' sounds like an outtake from Yes' Fragile session. In fact, only the relatively dull song 'Little Boy' ended up being a slight disappointment. This is a very good album to my ears, and I suspect will always be misunderstood. I can see I'm of the minority opinion on this one. OK, fair enough.

Ownership: 1974 Bacillus (LP). Gatefold. Quad. Acquired in 2023.

1/23/16 (review); 8/5/23

Man in the Moon (1980)

With Magic is a Child, I am admittedly somewhat an apologist for Nektar, stating it's a fine AOR album - with mild progressive tendencies - typical of the late 70s. Man in the Moon, on the other hand, pretty much blows from beginning to end. Why a band with a progressive space rock / prog rock background, needed to take sell-out radio era Supertramp and Journey as a blueprint is anyone's guess. Though the answer is obvious of course. Desperation. As in desperate to stay-in-the-game. And because of that, history will penalize this pathetic pandering to the masses. There are flashes of their old selves, especially on 'Torraine', but otherwise this sounds like a 50 year old boxer who says he has one last fight in him. "No... you don't". And this was the end of Nektar for 21 years.

Source: 2006 WHD (CD). Papersleeve edition.

5/17/16 (review)

Magic is a Child (1977)

Well, believe it or not, I'd never heard this record until now. And probably never would have, were it not a throw-in to another LP deal I just purchased. Good thing. Had I heard this 30, or even 20 years ago, I would have dismissed it out of hand. But with my ears today (oh these ears, I tell ya...), I hear exactly what Nektar was going for and honestly they did a great job at it!

And what they were going for was FM radio airplay. For whatever reason, the radio guys didn't feel there were any hits here. But I disagree, as seven out of the nine songs here could have easily caught on with the 1977 crowd. So yes, Nektar are a long way from their (recent) progressive rock past - and even further from their space rock roots. But this is still some fine sophisticated AOR, or what we used to call "pomp". A precursor to the neo-prog (later interpretation of said movement) sound honestly.

Good album if bands like Styx, Citadel-era Starcastle, City Boy, and others of its ilk appeal to you.

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

12/6/15 (review)

Nektar reformed in 2001 and have released an impressive seven albums since. Mostly to middling reviews, though my curiosity remains piqued. 

Also own: A Tab in the Ocean (both versions)

12/6/15 (new entry)

Catharsis ~ France

Et S'aimer et Mourir (1976)

Catharsis' 6th, and last, album (not counting one reunion) shows the band more in jazz fusion territory. Much more accessible than their earlier works, the focus here is on both the melody and the beat. Bolded on each track is the Synthorchestra Farfisa, making it look like an advertisement for the new instrument. The music isn't so far from the jazz funk scene of Placebo, Solis Lacus, and Cortex, though it's more measured, at times mellow, and less robust.

1977 Festival (LP). Gatefold. Back cover has the recording details. Acquired in 1994.

1994; 1996; 6/20/15; 9/25/26

Catharsis / Volume II "Les Chevrons" (1972)

Catharsis' second album is quite simply music for liquid light shows. Head music as they would call it back in the day. I found this to be an improvement from their debut Masq. The instrumental psychedelic rock music of Les Chevrons is more compact, and demonstrate more compositional quality than the strictly atmospheric Masq. The title track, with its haunting organ melody, is particularly memorable. This isn't meant to be challenging prog music. Kick back, digest your beverage of choice, and let the music take you to new places you haven't been. Or at least enjoy the slide projector.

Ownership: 

1975 Festival (LP). Gatefold. Acquired in 1994.

1990 Griffe (CD). Includes all of Masq and three different songs from various singles.

1994; 4/3/13; 3/3/24 (review)

Vol. 4: Illuminations (1972)

Even though this is Catharsis' 4th album, and many online discographies list the album from 1975 - in reality it was recorded at the same time as their first three albums (including an EP). Musically it ties closest to their debut Masq. Essentially it's atmospheric rock music with wordless female vocals and a psychedelic backdrop. Not the kind of album to knock your socks off (presuming you would want such an occurrence), but for a pleasant mid-evening listening session, it serves its purpose.

Ownership: 1975 Festival (LP). Gatefold. Acquired in 1996.

1996; 11/18/20 (review)

Catharsis / Masq (1971)

Catharsis' debut is like an imaginary instrumental psychedelic soundtrack album, with wordless female vocals. 1969 Pink Floyd plays a huge role in their sound at this point in their career. It's mostly atmospheric, and doesn't offer much detail for the attentive listener. However, as background music while driving, it more than serves its purpose. 'Tunnel Extatique' is certainly the highlight of the four track set.

Ownership: 1990 Griffe (CD). Includes Les Chevrons. The title is a bit misleading because it indicates that you are also receiving the 3rd album - an EP called '32 Mars'. This is not the case. Rather you receive three singles, including the aforementioned 'Masq', in addition to the single edit version of 'Les Chevrons' and, of course, '32 Mars'.

First acquired the LP in 1993.

1993; 1998; 4/3/13; 9/1/19 (review)

Three of the early Catharsis albums were self-titled, so when Festival reissued their early albums in 1975, they appended titles to them. Those names stuck, as that's how many collectors refer to their albums by. Catharsis were a relatively popular band in their day with six albums and 13 singles, not counting the many collaborations they were involved in.

Other albums I own: Le Bolero du Veau des Dames

9/1/19 (new entry)

2026 Revisits of prior UMR entries Vol. 10

Solis Lacus (1975)

Tale Cue - Voices Beyond My Curtain

Klaus Schulze - Inter*Face

Era di Acquario - Antologia

Wobbler - Afterglow

Agusa (2017)

Homunculus Res - Come si Diventa Cio che si Era

Duello Madre (1973)

Madder Lake - Stillpoint

Het Pandorra Ensemble III (1978)

Yngwie Malmsteen ~ Sweden

Fire & Ice (1992)

From the below review: "Having said all this, I never did hear anything else by him. I'll probably grab some CDs out of a thrift shop next time I see them just to satiate my curiosity." I did just that, more to come. And this cassette, which I pulled out of a thrift store early this year in New Albany, Mississippi of all places. Since it's a cassette, it was already on Side 2, so I'll start there. I have a feeling that all of these Malmsteen albums will run into each other. He'll do some show-offy guitar solos followed by some power metal tracks, acoustic interludes, with obligatory synth backdrop. That means I'll need to keep my ears tuned for that one great song, if such a thing occurs. There's 14 tracks here, it's going to be a slog I think. Lot of Neoclassical 101 here. And after consuming its contents, average seems about the right rating. A lot of talent here that needs direction.

1992 Elektra (MC)

9/24/26 (review)

Rising Force (1984)

When Yngwie Malmsteen burst onto the scene with the California band Steeler (an album I bought real time in 1983), he clearly had established a new medium. That of the shredder. The super fast soloist. Essentially Malmsteen was to heavy metal what Al Di Meola was to jazz fusion. And God was that the most tiring and dull discussion of my college years. Who's the fastest - and the greatest - guitarist. I talk about that in detail on Di Meola's Elegant Gypsy posting. Unfortunately that aspect takes away from some actual decent songwriting from Malmsteen (as it does for Di Meola). This isn't all shred. Sure he shows off here and there, but there's some good power metal tracks present that makes it a keeper. I'm saying that having owned it for 37+ years now, though this listen did not result in a nostalgia bump. I remain objective on this title. If you haven't heard the album, carve out the time and give it a chance. Having said all this, I never did hear anything else by him. I'll probably grab some CDs out of a thrift shop next time I see them just to satiate my curiosity.

Ownership: 1984 Polydor USA (LP). I even have the sales sticker like the Discogs' stock photo shows. Acquired in 1985.

1985; 1/5/23 (review)

Also own: Marching Out; Trilogy

1/5/23 (new entry) 

Pink Floyd (& related) ~ England

Many consider Pink Floyd the greatest band of all time, and Dark Side of the Moon the greatest album of all time. I don't agree with either assessment (though I own three copies of the album in question) but it's not hard to understand why both of these remain true. Pink Floyd are not an easy band to pigeonhole, and they went through various incarnations of sound and style. Some I love, others I find incredibly dull and boring. I've heard most of their output, including various solo albums. But I haven't documented them all (by a long shot). This post will be updated and forwarded many times before I'm done.

David Gilmour (1978)

It feels odd listening to this album for the first time on cassette. Strangely that's the only way I've found it in the wilds. No CD or LP. I'm talking thrifting and garage saling here. I have plenty of opportunities to overpay at a record store, believe me. This album came out when I started listening to FM radio intently, so I have to say it seems like I've heard most of it before. But it's been ages. The album is largely derivative of the Pink Floyd sound of the era. One can hear Dark Side, Animals, and The Wall in these grooves. Gilmour has always had a bluesy bent to his guitar playing, and that remains the highlight of this album as well, especially the opening instrumental, B2, and B4. The songs tend to drag, even the much heralded 'There's No Way Out of Here', a track they played every hour back in the late 70s.

1978 Columbia (MC)

9/24/26 (review)

Richard Wright - Wet Dream (1978)

In the not-so-distant past yours truly ran a global project management organization. One of my employees was a good PM as an individual, but not a great one. I had to step in on occasion to handle escalations, and there were even calls for me to let her go. I said "no way" as she's a major key to my team's success, even though I had many better PM's, no question about it. They were bewildered by that observation. What she lacked as an individual contributor she more than made up for as a team player. I saw her as a key pillar of why we were successful. Her peers loved and respected her. She is who made the team - a team. And she was 100% supportive of my initiatives even if she struggled to implement them herself. Not for a lack of trying, we're all different. That's how I see Richard Wright. I feel the same way about George Harrison of the Beatles and Led Zep's John Paul Jones. As individuals they're good players and decent songwriters. As part of the larger collective they were the secret sauce. What makes a good music group great is the input of everyone, not just the leaders. And that applies to business as well. So that's my take on Wet Dream. It's a fine, slightly mellow, mostly instrumental album. Nothing special but certainly not a disaster. Wright is a team player not a solo star.

1978 Columbia (LP)

4/8/25 (review)

The Division Bell (1994)

I've clearly avoided writing about any of the Floyd albums post The Wall (and including that album which I don't like). I'll try to make a concerted effort to get down a few words at the very least going forward. One wonders what the point of superstars like Pink Floyd putting albums out like The Division Bell? It's not a terrible album by any means, but it's just so... so... ordinary. Gilmour gets in some nice bluesy licks, and Mason is mailing it in on the drum kit. He was never a jazzer, but c'mon, I could play drums on this album. And I don't how to. There's some smooth jazz, and more than a few references to Dark Side of the Moon, trying to capture a moment in time from 20 years prior. 30 years on from that, it just looks like a desperate writer turning out the same scripts from their blockbuster New York Times Bestseller from the 70s. Boring and unnecessary.

1994 Columbia (CD)

2/26/25 (review)

Obscured by Clouds (1972)

The last of the classic Pink Floyd albums for me to reacquire. And the first back out the door. I thought I liked this one more than I do. Atmospheric, but ultimately dull effort. I think had it been totally instrumental psych I'd be more enamored with it (and there is some of that). Maybe if I find a cheap cassette or CD I'll hold onto it, but I'll take the money for the LP. 

---1/26/26

I did find it on CD, but it did not change my opinion. I did notice that elements of Dark Side of the Moon were becoming apparent on Obscured by Clouds. In that way, the album is historically significant.

1972 Harvest (LP)

8/13/24 (review)
 

The Piper at the Gates of Dawn (1967) 

Famous psychedelic album from the creative mind of Syd Barrett. Sort of random in its songwriting approach, it is just that quality that makes this album special. Clearly (ironically) it came from an addled mind. Bizarre and completely out of left field for 1967. Pink Floyd never really sounded like this again once the remainder of the brain trust took over, though there are elements on Saucerful of Secrets. One of a kind.

Ownership: Columbia / EMI Germany (LP). 70s pressing. Acquired in 2022.

First copy owned: A Nice Pair 1983 Capitol (2xLP). Acquired in 1985.

1985; 7/21/23 (review)  

Wish You Were Here (1975)

I knew I had this album rated too high. And sure enough a -1 ensued, putting it right into the Gnosis 11 category. Not first division for me. But I have to say that Richard Wright's synthesizer performance here almost pulled it over the threshold anyway. He really should have spent some time with Klaus Schulze. Who knows what he would have conjured up if he had. 'Welcome to the Machine' still captures my imagination though - a brilliant track. Even with this critique, I'd offer that this album is my favorite Floyd except for album #1 of Ummagumma. A very important release by a band that were selling out arenas and were incessantly played on the radio. Not a commercial album at all, and yet they managed to make it one. Impressive.

Ownership: 

2011 Harvest (LP). Outer bag packaging, and all sorts of other goodies like posters and postcards. Much better than my original 80s commodity LP that's for sure. Acquired in 2011.

2000 Capitol (CD)

First copy owned: 1980 Columbia (LP). Acquired in 1985.

1985; 2/15/23 (review)

Ummagumma (1969)

If there's a single source that one could point to as the origin of cosmic Krautrock, I think Ummagumma may very well be that album. Along with their Dutch counterparts Group 1850 - and a shoutout to Frank Zappa's Hot Rats and Iron Butterfly's In-A-Gadda-Da-Vida - you can hear the sounds that Germany took and ran with in their earliest days, especially the bands circling the Ohr label. Depending on one's view, Ummagumma is a live album with bonus tracks - or one cohesive album with a completely different focus for each disc. I think it's best to take the former approach, and it's the live album that is significant here.

There are very few albums that possess two bona fide monster tracks, but here we have what I consider the definitive versions of both 'Careful With That Axe, Eugene' and 'Set the Controls for the Heart of the Sun'. The former is a textbook example of how to build a solemn mood and then absolutely destroy it with one of the most intense climaxes in history. 'Set the Controls...' is about as trippy a number as you can find on any album, anywhere. If Pink Floyd were some obscure group that few had heard about, and these numbers were played back for the first time, it would be a natural reaction to think it was German made. 'Saucerful of Secrets' is no different from an atmosphere perspective, and in fact one could point to none other than Ash Ra Tempel's Schwingungen side longer as but one follower. The opening track is 'Astronomy Domine', the Syd Barrett composition that makes one wonder what direction would have the Floyd gone with him still at the helm.

The other album could best be described as "guys dickin' around in the studio". Which is not to say the album is worthless, as there's some good moments to be found from all four. They would have been better served to distill the best parts (if they would even know what those were) and disperse it evenly around the album. Similar to what Yes did on Fragile a few years later. Because it's separate like this, and the very nature of the type of music being presented, this is why I think it's best to view them as bonus material versus a part of the main album. Otherwise my score would be lower in aggregate.

Ownership: 

1986 EMI / Harvest Germany (2xCD). Fatbox. One of the first LPs I replaced with a CD, and even today, that decision makes total sense to me. Some albums were meant to be on CD, and this is one of them. I reacquired the LP later just because.

Harvest (2xLP). 70s pressing. Gatefold. Reacquired in 2019. First acquired in 1985.

1985; 8/7/22 (review)

Animals (1977)

I'm not sure I've heard this album since the late 1980s, even though I've consistently owned a copy that whole time. For me this is the end of the Pink Floyd I enjoy. I never could stand The Wall, an album I've had a chance to revisit in the last three years. I'll never understand its allure beyond a couple of good tracks. Animals, however, is their final non commercial stance. Not to play on titles here, but it's also dog slow. This is music to kick back, turn down the lights, and absorb. It misses the dynamism of its predecessor, and is not an immediately likeable album. Which I believe is the point. Gilmour gets a chance to really shine here, and taps into his late 60s blues repertoire. It's one of a kind in their discography. Even though it's been 30+ years since I last heard it, I felt like I knew the contents anyway. And the rating of excellent remains unchanged. Love the industrial Britain gatefold cover with the flying pig. It's wall worthy really.

Ownership: 

Columbia (LP). Gatefold. 80's pressing with barcode. Upgraded in 2024. First copy acquired in 1985.

1995 Columbia (CD). Acquired in 1996.

1985; 1996; 1/21/22 (review)

Meddle (1971)

Well, you all know this album. Features two excellent proggy space rock numbers in 'One of These Days' (the only song from this album, incidentally, you would have heard on the radio back in the day) and 'Echoes'. And then there's four rather boring folk rock tracks sandwiched in between. These are far more prosaic and backporch-y than the mystical dazed folk of More, for example. They're definitely no longer a psych band by this time. I particularly enjoy the second movement (as it were) of 'Echoes' with its excellent organ and guitar jam. The interesting aspect of this album is just how ordinary it is for 1971. No doubt that Pink Floyd were major influencers throughout the 60s. But on Meddle, they seem to be followers. There's many more examples of music like this from 1970 and '71 that is much more interesting. And this blog is full of them. After this, it seemed Pink Floyd realized this situation as well, and went about making Dark Side of The Moon. I'm not really a fan of the latter, but it's hard to argue that it wasn't groundbreaking. They were leaders once again.

Ownership: 

1986 Capitol (CD). In the summer of 1986, I was working as a summer intern at a major US government military defense contractor in the Dallas area. It was a great gig, and I was very lucky to get it. I had mediocre grades (electrical engineering, to be fair...) and not much else going for me. But a very close buddy of mine's dad was one of the four owners of the company (see Al Di Meola's Elegant Gypsy post for more about this friend). Yes, it's true, it's who you know... In any case, I did thrive at the job, and was making serious money for a 21 year old intern. So what does a 21 year old dude in 1986 with money do? He buys him a new stereo, that's what! With a CD player! Wow - I was rich. We forget now how expensive CD players - and CDs - were at the time. Of course since I bought a new player, I needed product to go with it. There was a limited selection of CDs at the time. And, of course, there's no way I'm buying a CD of something I already have on LP. Meddle was one of the few Pink Floyd albums I didn't have at the time. So... it was the first CD I ever owned! In fact, it's so old, it has a smooth jewel case with no ridges. Those have become collectible now too, of all things. 

7//86 (CD acquired); 8/28/21 (review)

The Early Tours '70-'71

Title is a misnomer, as apparently the music here was all taken from one concert in Amsterdam on June 26, 1971. This is certainly prime Pink Floyd, though it only includes the music they were doing in 1969. I have to trust that the source credit is correct (from Discogs - and I'm sure other established bootleg sites). The titles don't actually reflect the songs here, but most of this is on the live side of Ummagumma, which is my favorite of all the Floyd albums (just disc 1 mind you). The other tracks are an extended version of 'Cymbaline' from More, a track that otherwise I was not familiar with. Its placement here is perfect though. And finally 'Embryo', a track that you find almost exclusively on live bootlegs. It too has the perfect "Cosmic Krautrock" sound - I say that in deference to Pink Floyd being probably the most influential of all bands for that scene. 

Ownership: 1976 Space (LP). Acquired in 2021.

7/7/21 (review)

More (1969)

This is Pink Floyd at their druggy drifty best. This is the sound that Dom perfected on Edge of Time. I'd heard this album back in the day, but I was way too impatient for music such as this back then. I find side 2 the better of the sides, as it really captures the ethos of the times. Mostly acoustic guitar, tribal drums, and low-fi keyboards, with sparse vocals and the occasional rockin' burst. Love the trippy image windmill cover.

Ownership: 

1973 Harvest (LP). Acquired in 2026.

Capitol (CD). Acquired in 2025.

7/13/21 (acquired / review)

Relics (1971)

I've never owned Relics before, and my memory had this as a compilation. Which is true, but not a typical one. Today you can get most of these on a more modern CD reissue, but I don't have them, so this worked out perfectly. Relics is for fans of 60s Pink Floyd, and that's my favorite era of the band. Five of the 11 tracks are on studio albums, and the others come from rare singles and comps. Just having the studio version of 'Careful with That Axe, Eugene' makes it worth keeping, and the other tracks are great as well.

Ownership: Sounds Superb Belgium (LP). Acquired in 2021.

6/20/21 (review)

Albums I own: A Saucerful of Secrets; Atom Heart Mother; The Dark Side of the Moon; A Momentary Lapse of Reason; two different multi-disc bootlegs

Other albums previously owned: The Wall; The Final Cut; Delicate Sound of Thunder

8/28/21 (new entry)