Kayak - See See the Sun. 1973 Netherlands

Kayak were about 3 years ahead of their time, whereby mixing pop music and progressive rock seamlessly. Their sound – as brought forth by others of course - would ultimately dominate American FM radio throughout the late 1970s, yet Kayak were nothing more than an aficionados pick for best band you’d never heard of. What’s most interesting, to me anyway, is that Kayak were the blueprint for the Midwest Progressive Rock sound that I frequently speak about here on UMR, and yet Kayak were not a band from St. Louis or Chicago – but rather from the distant Netherlands, a country more known for the quirky sounds of Focus or Golden Earring. While there is no doubting Kayak’s fondness for current era Yes, Kayak also pay homage to a number of popular bands including no less luminaries such as The Beatles. Alan Parsons’ contribution to this album can only be seen as an influence on the young engineer’s future career. Organ, mellotron, shifting signatures, and long tracks assure its progressive credibility, but in the end Kayak were pioneers of a later sound – one that wasn’t necessarily embraced by all, but for certain was popular in the arenas of the day. One track worth calling out is the stunning beauty of ‘Lovely Luna’.

Ownership: LP: 1973 Harvest (UK). Single sleeve. Online acquisition (2014)

CD: 2012 Esoteric. Jewel case release with full liner notes and one bonus track.

2009; 9/28/12 (new entry); 4/18/18

Deformica - Páramo. 2010 Argentina

Deformica, on their second album, takes one step forward and two steps back. Ironic in that the one step forward is the use of vintage equipment such as Fender Rhodes, Mini-Moog, and Hammond organ. The two steps back is the choice of musical direction. Gone are the psychedelic guitars of H and its place is a determined pointed move in the post-rock direction. Lots of Frippian sound-on-sound barely amplified guitar, and laid back melodic sequences. A cross between 90s King Crimson and Don Caballero. Overall it's a bit too restrained and static for me. The exception is the opening track 'Novelesco' which sees the group try their hand at instrumental psychedelic music with great success (and wonderful Moog sounds). The post-rock thing has been done over and over by countless bands. But not near as many modern bands have gone all out for a 1970 psychedelic sound. Too bad.

CD: 2010 Viajero Inmovil

9/21/12 (new entry); 9/4/18

Kotebel - Ouroboros. 2009 Spain

Ouroboros is the middle child between Omphalos and Concerto for Piano and Electric Ensemble. The eldest is the capricious, vivacious one who draws you to her mysterious ways. The latter is the class Valedictorian who also happened to be the class favorite. But Ouroboros is more serious. Studied longer and harder than its siblings, but perhaps doesn't mesh as well in social circles. In musical terms, gone are the female vocals and preponderance of flute, and in its place are more jagged rhythms, cold synthesizer sounds, and angular guitar solos. Of all the Kotebel albums, Ouroboros comes closest to the avant progressive sound of October Equus, or Belgium's Present by extension. A fine record that set the stage for an even better followup.

Ownership: CD: 2009 Musea

9/20/12 (new entry); 7/18/18

Il Bacio della Medusa - Deus Lo Volt. 2012 Italy

Il Bacio della Medusa returns with their 3rd opus, an album that is likely to please fans of classic early 1970s Italian progressive rock – and perhaps only to them. Allow me a chance to further clarify: If band names such as Delirium, Cervello, and Odissea send a chill up your spine, then Deus Lo Volt will be considered a must purchase. Otherwise, you may want to do a bit more research and get back to us. There is some Italian progressive rock that is easy to digest on initial listening (PFM, Le Orme, Acqua Fragile…) – and then there’s the deep-dive stuff – albums that require hours of listening to a preferred style and still love it despite the quirks. In other words, you have to be “all in” to appreciate an album such as this. Good, bad, or indifferent, I myself would have to be considered “all in”, so I think it’s a wonderful piece overall. But this is not the first album I’d pull from my collection for a co-worker looking to hear a few sounds from my collection. They’d look at me as if I’d just arrived from another universe (well, they do anyway, but let’s not go there…). Deus Lo Volt is a concept album about Pope Urbano II, the Papal overlord of none other than the First Crusade. If there was ever a topic that is likely to draw a gleeful smile from a shadowy progressive rock fan, well then... this has got to take the cake! What the lyrics interpret of his life and ambition is for Italian speakers only, and I could care a less really. I’m here for the music and the vocal representation. On this latter point, the male vocals here are of the 70s gruff variety similar to the aforementioned bands in sentence number #2.  Of course there’s the fluttering flute provided by no less than a shapely and beautiful long haired lass. All the other requisite sounds and themes are in place: Majestic keyboards, hard rocking guitars, and a rhythm section that can’t stand to stay on the same meter for more than 20 seconds. A couple of somewhat disappointing observations: The title track, for the first 5 minutes at least, sounds more like Iron Maiden on their debut than Italian prog rock. And while I love Maiden as much as the next person, I do feel it’s a bit incongruous here. Though the final two minutes of said track show off their Italo-prog cred – add flute - and go all Osanna on us. And then finally we get to the length of the disc. Now I know lots of folks feel that “filling the disc” with 80 minutes of music is tiresome, and while I may not completely agree, I do understand the point. But Deus Lo Vult is only 34 minutes long. Certainly another 10 or 15 minutes could have been added to fill out a normal LP length? We’re in Dalton territory here, right? On the plus side, the CD comes in a wonderful hardbound book cover, with an interesting lyric libretto with photos. I’m really enjoying this musically and aesthetically. But surely, oh surely, there  had to be another 10 good minutes sitting on the cutting room floor?

Ownership: CD: 2012 private. Hardbound book cover with a libretto.

9/18/12 (new entry)

Solution. 1971 Netherlands

Strong debut from Solution, a fuzz-laden organ and sax/flute driven band from The Netherlands. The primarily instrumental music is highly melodic, a common and much welcome trait amongst Dutch progressive rock groups. On this album, Solution reminds me of fellow countrymen Pantheon and Burnin' Red Ivanhoe (Denmark) with props to the overlord of this kind of sound - Hot Rats era Frank Zappa. In fact, 'Circus Circumstances' sounds like Samla Mammas Manna playing the music of prime Zappa.  'Koan' and 'Trane Steps' are the best tracks here, but no weak moments are to be found. Great album.

Here are my notes for Divergence (1972) as well, an album I just could never get into: What a dubious opening for Solution's second album Divergence - the first 6 minutes of 'Second Line' mounting to nothing more than a crooner's piano ballad that is painful to endure. But the last two minutes of said track offer hope for those of us who adored their debut album. The following title track will remind most folks of Focus, and that's because it was included as part of the 'Eruption' track as found on Moving Waves, though the organ and sax breaks found here are entirely their own. 'Concentration' veers dangerously close to being a proto Kenny G, when the music suddenly takes a dark turn to the skanky bar on the corner. And after the drunks have left, the band gets down to business and proves their instrumental worthiness. The album closes as it starts, and is the death knell. I can only shake my head, as the immense brilliance of the debut is pretty much lost here.

LP: 1971 Catfish
CD: 2012 Esoteric (UK)
LP: 1972 Decca (UK)
CD: 1996 EMI

Originals are housed in a single sleeve cover. I love the little kid on the tricycle with his life-vest "solution" riding along the canal, which is absolutely priceless. The snapshot of a quiet sunny 1971 neighborhood in Holland (Spaarnwoude apparently) is also great. My first copy was the 1996 2-on-1 CD, and after viewing the cover, I knew I must own an LP (the 1972 UK Decca copy). Eventually I purchased the original Catfish version to go along with the UK LP. Since I'm not a big fan of Divergence, and the EMI CD is absolutely void of details, I recently upgraded to the Esoteric version, which has its usual fantastic liner notes and photos (and this one sounds great, which isn't always the case with Esoteric). No bonus tracks though. Update: OK, the 2 for 1 CD is now hitting the sell bin, as well as the Decca LP.

Herba d'Hameli - Inversa Visual. 2009 Spain

Herba d’Hameli mix contemporary progressive rock with music of the past generation, one that hasn’t been heard in Spain since the glory days of Gotic and Ibio. And perhaps no surprise concerning Gotic, as Herba d’Hameli are also from Catalonia (Barcelona). Flute plays a main part to their overall sound, and frequently drives the melodic and solo sections. Rounding the sound out, you’ll also hear acoustic/electric guitar, keyboards (mix of digital and analog), bass and drums. What makes Inversa Visual so special is their instrumental melodic quotient. Herba d’Hameli are not flashy, and rely on their instinctive ability to write a memorable tune. By memorable, I do not mean pop, but rather something that puts smile on your face without resorting to the kitschy. Lyrics are sung in the Catalan language (though keep in mind, this is still primarily an instrumental album). Oddly enough, the vocals possess a certain restrained characteristic, similar to some of the modern Italian progressive bands.

Ownership: CD: 2009 private

9/17/12 (new entry)

Arbatel ~ Mexico

Sumerios (2009)

Following the debut comes Sumerios, their unheralded follow-up. Released under the cover of darkness in Chile by the excellent Mylodon label, the album has thus far seemed to completely escape notice. And that’s a tragedy really. There’s even a bit of encouragement from no less a luminary than Gianni Leone (of Il Balletto di Bronzo fame) with his enthusiastic liner notes (translated to Spanish). Gone is the violin and in its place is the key addition of soprano female vocalist Rosario Maza Hernández, who adds a bit of exotic narration as well. The music is primarily keyboard based, and has now gone decidedly analog, with copious use of Hammond organ, Mini-Moog, and good old fashioned acoustic piano. Electric guitar, bass, and drums provide the usual backbone and the rhythm section reliably lays down odd time signatures to keep everyone guessing.

The album starts off with an Indian tribal / religious bit that unfortunately isn’t revisited. I suspect its purpose is to tie the theme to the ancient Sumerians, but I love the atmosphere it provides. Once the rock instrumentation kicks in, there is no doubt this is a 1970s influenced progressive rock album. Like Gamadion, the Italian progressive movement of the early 70s seems to be the main influence here (thus the Leone narrative I suspect). In the early to mid-1980s, Mexico possessed a burgeoning progressive rock scene with such stalwarts as Iconoclasta, Delirium, and Praxis all putting out very good albums. None seemed to cross the threshold to greatness. It seems to me that Arbatel has accomplished everything those bands had originally set out to do. And if you’re familiar with these acts, then the raw Mexican production qualities shouldn’t bother you on Sumerios. It adds to the charm. This is a deep, complex album that requires a few listens to penetrate. And it’s an album that needs more of an audience.

Ownership: 2009 Mylodon (CD). Booklet contains narrative in Spanish + music lineup. 

9/17/12 (review); 10/2/22

Gamadion (2004)

On Gamadion, Arbatel are an instrumental rock quartet with electric guitar and digital keyboards (including some cool pipe organ sounds) providing most of the input, with guests on vocals and violin rounding out the sound. Sure, it's not a crystal clear sound, and a muddied production (especially the drums) mars this slightly - though it's also part of the charm really. Apparently the band at one point covered a few classic Italian progressive rock songs by Le Orme and Il Balletto di Bronzo, so clearly their influences are a bit more interesting and researched than just the usual suspects from England. There's an excitement to listening to music such as this, as you're really not sure what's going to happen next, yet it's all within a comfortable progressive rock context.

Ownership: 2004 private (CD). Booklet has photos and recording details.

9/16/12 (review); 2/18/25

9/16/12 (new entry)

Placebo - s/t. 1974 Belgium

This is my personal favorite of the three Placebo albums. Here the grooves go deeper, and the solos are more intense. Best of all the compositions are, to a greater degree, more unique.

CD: 2011 P-Vine (Japan)

Placebo - 1973. Belgium

The 1973 album continues in the same vein as Ball of Eyes, though it's definitely more funky and head boppin' than the debut. And the real ear grabber is the superb Moog soloing by Marc Moulin. Strangely, the album finishes in a completely different direction. The next to last track is more towards straight jazz and the closer has more in common with Electronik Musik, than anything one would associate with Placebo. I thought the sophomore effort surpassed the debut, and from what I could tell, many considered it their best. However, my vote goes to the 3rd and last album. To be continued...

CD: 2011 P-Vine (Japan)

Placebo – Ball of Eyes. 1971 Belgium

Marc Moulin's three Placebo albums are the "Holy Grail" for the rare groove crowd, a sector of music fans who love that unique 70s style of cool. The beat and the mood of the sound are key.

For an album from the 1971 jazz scene, Ball of Eyes is remarkably focused, without any experimentation or free jazz moments which were still in vogue during that time. Not edgy like same era Miles Davis, Wolfgang Dauner or even other rare Euro groovers like the Sunbirds. In fact when I first heard it, I was certain it was from 1975 or later. The horn charts are all very well done and they do catch that certain 70s spy groove. It's all a bit too laid back for me to consider it a 5 star masterpiece, but its wide appeal is undeniable.

CD: 2011 P-Vine (Japan)

Original LPs are off the charts expensive, and I personally wasn't aware of Placebo until the last 6 years or so. After obtaining CD-R copies and pleading for a reissue on the CDRWL, we were all rewarded last year with fully authorized Japanese mini-LPs from P-Vine. Ball of Eyes in particular benefits from the format, given that the original features a cool gatefold cover.

Quantum Fantay - Bridges of Kukuriku. 2010 Belgium

I've been a fan of Quantum Fantay since their first album. All are very good variations on the Ozric Tentacles sound. But I wasn't prepared for the greatness that is Bridges of Kukuriku. Everything about this album is exponentially better than prior efforts (and that's saying something). Whether it's the production (listen to the panning from speaker to speaker as if Dieter Dirks himself took the controls), the instrumental interplay (crisp and tight), the energy level (extremely kinetic) - or just the general exoticism surrounding the compositions. And this has real melodies, something you can actually latch onto and remember, rather than just a technical exercise in musical theory. The amazing transition from 'Follow the Star' (track 2) to 'Shiver Moments' (track 3) and the subsequent blitzkrieg of said track practically gave me a stroke. Music like this is truly exciting, as you never know what will happen next, and yet it still rocks hard in a psychedelic way. Ozric has never come close to fully realizing an album like this. We're in the rarefied territory of those Finnish groups Hidria Spacefolk and Taipuva Luotisuora. This album is absolutely brilliant and will most certainly be considered one of my personal favorite albums of the entire 2010 decade.

Ownership: CD: 2010 Bassick

2010; 9/14/12 (new entry)

Quantum Fantay - Kaleidothrope. 2009 Belgium

After the great success of Ugisiunsi, Quantum Fantay return with Kaleidothrope...  ...and serve notice that they are serious and are here to stay. The jumpy sequencers, fluttering flute, hyperactive rhythm section, and - best of all - pyrotechnical psychedelic guitar work, are here in abundance. All of this while never forgetting that melody is truly important to a great composition. Not to mention the constant shifting of themes, meters, and dynamics. Final track 'Telepathy' is a monster and needs to be heard by all. And to think they would actually improve on their next album. Wow! If there's a criticism of Quantum Fantay, it's that they veer too close to Ozric Tentacles. And while that may hold true, one should know that it's more like Ozric extract: All the good stuff is filtered in while leaving the chaff out.

Personal collection
CD: 2009 Shiver

The above comes with a DVD.

9/14/12 (new entry)

Klotet - Det Har Aldrig Hänt Och Kommer Aldrig Hända Igen. 2010 Sweden

As if to prove Det Har Aldrig Hänt Och Kommer Aldrig Hända Igen will be different from its predecessor, Klotet open their second album with death metal styled blast beats on 'Gastronomika Proportione'. Despite this bit of incongruity - Klotet, as driven by female Hammond organist/keyboardist extraordinaire Milve Sofia Rydahl, insists their music maintain its defiant stance on Swedish folklore melodies. All of this music is then funneled through an old school 1970's progressive rock approach with fuzz guitar and organ leads, as best defined by Kebnekaise, Solar Plexus and Bo Hansson's solo works. None of Klotet's album's instrumental tracks clear the 4 minute mark, also calling out the glorious debut from that obscure Swedish band Lotus and their fine 1974 album. If any of this review makes sense, then you're more than likely a good candidate to hear this album.

Ownership: CD: 2010 Musea (France)

9/14/12 (new entry)

Svenska Lod AB! – Horselmat. 1971 Sweden

Svenska Löd AB!'s sole album is a very rare album, and originals are off the charts in price. But what of the music? Hörselmat is an instrumental jazz album with blues, rock, and funk undertones. An album that features none other than Janne Schaffer on electric guitar. Very much of its era. Despite its rarity, the album features an excellent production along with some splendid guitar, trumpet, sax, and organ work (especially the organ).

CD: 2011 Creole Stream (Japan)

One of the rarest albums from Sweden, if not the rarest. Pressed in a micro quantity of 200 copies. Privately released album in an era when that kind of thing was unheard of, except in England perhaps.

Last listen: February 7, 2018

Quantum Fantay - Ugisiunsi. 2007 Belgium

While the debut Agapanthusterra could be considered another Ozric album, the sophomore effort Ugisiunsi utilizes to a greater extent other music vehicles like flute (in more abundance than the debut), sequencer based electronics, and haunting wordless female voice, thus adding color to the usual guitar / keyboard rave-ups. The guitarist (from Srdjan 'Sergio' Vucic, in his only stint with the band) adds some metal crunch at times, recalling the Dutch group Kong. And the solos are Ed Wynne-esque in their intensity. Like Hidria Spacefolk (Finland), Quantum Fantay also display a penchant for progressive rock themes and complexities – something that Ozric did more frequently in their past with songs like ‘White Rhino Tea’. Tracks like 'Snowballs in Ghostlands' show Quantum Fantay were capable of writing beautiful melodies as well - moving beyond the usual "if you can't find it, grind it" mentality. At this point in their career, Quantum Fantay looked to be a major force in the space rock circuit. And as it turns out, they ended up being just that.

Ownership: CD: 2007 Pete's Mushroomland

2008; 9/12/12 (new entry)

Quantum Fantay - Agapanthusterra. 2005 Belgium

Agapanthusterra is Quantum Fantay's most Ozric Tentacles-like album - right down to the reggae bits. That said, the compositions are entirely unique and offer one more perspective of an already great formula. On this debut, Quantum Fantay were a four piece with synthesizers, bass, drums and flute. Guitars were performed by a guest of the band (who would later join as a full time member on their 3rd album Kaleidothrope), but despite this designation his participation here remains a centerpiece to their overall sound. Best tracks are the heaviest rocking pieces 'Lantanasch' and 'Chase the Dragon'. Worth noting that the final track 'Amoevha' is hidden and not listed on the CD itself.

Ownership: CD: 2005 Pete's Mushroomland

2008; 9/11/12 (new entry)

Ako Doma. 1999 Slovakia

Sometime in 1990, not long after the fall of the Berlin Wall, I managed to slip into Bratislava (though Visa's were still mandatory, who was paying attention?). At the behest of my gracious hostess, she insisted I catch a "local" instrumental band at a municipal concert venue (juke joint?). It was what can be best described as a "dance hall" - brightly lit, smoke filled, and slightly (OK, mostly) dingy inside. The audience was made up of primarily overweight middle aged women, all wearing knee hemmed black skirts and calf high pantyhose. On stage was a heavily mustachioed gentleman wailing on the sax, while a drummer and stand-up bass player briskly kept the pace. The melodies all had a certain popular music base, some Western, mostly Central European - and all based in another lifetime. They were immensely popular with the women as they gyrated wildly on the dance floor. The men drank tall steins of beer and puffed away on pipes and cigarettes, anticipating (perhaps dreading) what was in store for them that night. For this (then) 25 year old, it was an eye-opener. I was witnessing real-time something that I personally saw disappear quickly from the landscape once freedom was attained. For an American in 1990, it was anachronistic to say the least. And I loved every minute of it.

When I first heard the sax player from Ako Doma squonking her notes out, I was immediately brought back to this event. Her playing and melody choices are primarily based in Slovakian pop folklore. Pop, as in 1950's smoky dance jazz-pop. The remainder of Ako Doma apparently spent their wasted youth snubbing their noses at the Authorities and smuggled in King Crimson's Red album, perhaps hoping that if they did get caught, at least the album title would keep them out of hot water. And to say anything further would be redundant: You now know the music of Ako Doma's debut.

It should be noted that the final track, the 22+ minute 'Hrdzavenie', is from a different era of the band (sans sax), and is more rooted in typical progressive rock themes.

Ownership: CD: 1999 Mellow

9/10/12 (new entry)

Yellow Sunshine. 1973 USA-Pennsylvania

Yellow Sunshine were a Philadelphia based group that recorded one of the best of the Afro psychedelic funk albums. A strong hard rock edge pervades, which is something that is often missing in these soul-oriented works.  This contains a mix of rockier vocal tunes and longer mellow instrumentals. Yellow Sunshine in the big leagues of the scene with Funkadelic and Mandrill. They later evolved into MFSB, a very fine mid 1970s funk/disco group, that recorded the fantastic 'K-Jee', my favorite song on the Saturday Night Fever soundtrack.  

Ownership: LP: 1973 Gamble. Single sleeve embossed cover. Acquired from Joint Custody in Washington D.C. while there on business (2023).

CD: 2010 Philadelphia International (Japan). Papersleeve edition that replicates the embossed cover.

2008; 9/10/12 (new entry); 12/17/23

The Jack Hammond Group ~ USA ~ Chicago, Illinois

A Fatal Beauty (1982)

From Chicago comes The Jack Hammond Group, an inventive fusion band. On the double LP A Fatal Beauty, the album opens with a fantastic sequence of tracks, lead by guitarist Hammond, which is ultimately based in progressive rock, including a side long epic as found on Side 2 (of 4). Side 3 finds the group experimenting with many disparate styles (classical, blues, and funk primarily). Then they close strong on the final cut with the addition of horns. A solid album throughout, and a great find for US private press seekers. The cover is also quite suitably creepy.

Ownership: 1982 Fatal Beauty Records (2xLP)

9/7/12 (review)

Open the Doors (1980)

Chicago based guitarist Jack Hammond debuted with Open the Doors, an eclectic album with an anachronistic 1960s blues/psychedelic feel on some tracks, which is highly unusual for 1980. As well he seems to have adopted, or been a disciple of, John Fahey's American Primitive style of country blues finger picking. Nice but inessential album, for my tastes anyway.

Former ownership: 1980 private (LP)

8/28/10 (review); 9/13/12; 6/6/15; 1/3/23

Neither reissued as of 2/22/25.

8/28/10 (new entry)

El Reloj. 1976 Argentina

El Reloj's second album is an intense and complex dual guitar-led progressive rock from Argentina. In some ways it represents the logical next step on from classic Wishbone Ash, Man, and the Dutch group Cargo. Perhaps only Automatic Fine Tuning attempted a similar mix of highly complex music with twin hard rock guitars solely taking the lead. There is a small amount of keyboards, but they aren't the focus. And the histrionic vocals are typical of the delivery in Argentina and Italy in the 1970s.

Come to think of it - complex progressive hard rock, non-stop intensity and screaming vocals - perhaps we now know the true inspiration for Mars Volta (makes more sense than Led Zeppelin). Well... maybe?

A rather surprising sophomore entry from El Reloj, whose debut is much more straight ahead hard rock with blues touches. I personally think this is a great album - a near masterpiece.

Ownership: LP: 1976 RCA. Gatefold. Mail order acquisition (1993). Love the cover with the weird dude in a weirder place.

CD: 1996 Record Runner (Brazil). Jewel case with two bonus tracks taken from a single.

1993; 1996; 9/7/12 (new entry)

Apoteosi - s/t. 1975 Italy

Apoteosi is a family affair, three-fifth's of the group lead by the Ida family based in Calabria (the toe in Italy's boot). And the label was run by the father, who had signed up many local folk artists. What we have here is the Italian progressive rock version of the Free Design. And the keyboardist is no older than 14, running on another 1970s tradition of: Youth. Semiramis featured a 16 year old mastermind as did MIA of Argentina with their 15 year old whiz-kid. Hey, Mozart was 5 when he got started, so why not right?

Apoteosi is classic turn-on-a-dime Italian progressive rock in the Semiramis / Jumbo tradition with Jenny Sorrenti / Saint Just like vocals. Hard to dislike this one if a fan of the genre. Finishes with a space rock number straight from the Sensations' Fix playbook. Finding this private press must have been nirvana for collectors worldwide back in the day. Thank goodness for the Mellow CD, so the rest of us could hear it too! Brilliant really.

CD: 1993 Mellow

An extremely rare album, where original copies have sold for over $2000. Like many, I had never even heard of this album until Mauro released it in 1993.

Patrick Forgas - Cocktail. 1977 France

Patrick Forgas was known, even at the time of this release, as the French Robert Wyatt. The parallels are certainly there: Canterbury styled jazz rock, lead by a drummer, who sings with a high pitched insouciant voice. But perhaps it's the French part that gives Cocktail its unique edge, and you'll also hear artists like Gong, Dashielle Hedayat and even Moving Gelatine Plates creeping in here and there. And, this being 1977 and all, it was hard to avoid those trendy funky grooves, and Forgas succumbed on occasion. Forgas compiles an all-star cast here, and in addition to the multitude of instruments Forgas plays himself, they add keyboards, guitar, bass, violin, saxophone and flute. 'Monks' features a vicious fuzz bass groove, that reminds me of Hedayat's Obsolete. Elsewhere, Forgas writes little vignettes, each could have been the basis for a longer and more enjoyable track had he decided to flesh them out. These serve almost as Library music / incidental music. For Side 2, Forgas does just that - writes a full opus - and gives us the 18+ minute 'My Trip' fulfilling the promise of Side 1.

Following this, Forgas piddled around with substandard releases, until he got serious again in 1998 with his Forgas Band Phenomena, a band that continues today and is one of the leading lights of progressive music. Great to see the old dogs showing the new pups a few things.

CD: 2008 Musea
LP: 1977 Gratte-Ciel

The original single sleeve cover has always been relatively easy to find. Gratte-Ciel (Skyscraper) was a subsidiary of RCA, who it appears at the time was completely behind the French progressive rock movement. They had other progressive rock specialist labels, such as Arcane/Crypto. The Musea CD adds no less than 13 relevant bonus tracks, making this the de facto release of the album.

Grobschnitt – Die Grobschnitt 0. 1971 Germany (archival)

Die Grobschnitt Story 0 is all about the earliest incarnation of Kapelle Elias Grobschnitt (1971), and as such, much of the material will also be found on the self-titled Grobschnitt album. In fact, the entire first album is presented here, but in slightly different form (no string quartet for example) - though there are not enough differences to make this an essential purchase - on its own that is...

....However there is close to 30 minutes of unique material here, starting with track 6 'About My Town' (8:56), a very fine jazz inflicted progressive rock number with plenty of those great Lupo guitar solos. 'Fallstone' (5:25) follows with Eroc's martial drumming leading the way while Wildschwein shreds away on rhythm guitar and Lupo once again comes in with some fine solos. Disc 2 opens with 'Das D-Lied' (4:03) and 'Das Teelied' (3:15) both splendid little psychedelic blues rock numbers in the Krautrock tradition. 'Die Maschine' (7:49) is perhaps the best of them all, starting out with power chords like early Black Sabbath. But at the point where you would expect Iommi to start riffing, the band goes into jazzy jamming mode and Lupo unleashes some great wah-wah solos. These 5 tracks alone would have made for a great archival album, so having the bonus of the entire first album in raw form is just icing on the cake. The album closes with a live version of 'Das D-Lied' (4:33) and the final track, on the surface at least, looks like a real boon for collectors: A 31 minute live version of 'Die Sinfonie'. However this is the same bonus track as found on the 1998 Repertoire CD, so if you have that already, then nothing new here. All in all, a fantastic historical document from one of Germany's finest progressive rock bands of the 70s.

Ownership: CD: 2010 Made in Germany. Made in Germany is the next venture from a former SPV executive. The quality of the physical product is impressive, and is first class all the way. Features include a tri-fold digipak holding 2 CDs and extensive liner notes from Eroc himself.

9/4/12 (new entry)

Cai - Mas Allá de Nuestras Mentes Diminutas. 1978 Spain

Progressive rock and jazz fusion meet Flamenco styled rhythms is what Cai's debut is about. 1978 Spain is filled with similar albums and Cai is an excellent representative of the Rock Andaluz movement. Others have called out comparisons to Iman Califato Independiente, and that's a really good reference for this album. Cai later signed to a major label and released two further albums, more geared towards the fusion aspect of their sound. I have them both and we'll cover at some point.

LP: 1987 Soviso

The 1987 release is an exact replica of the 1978 original gatefold. Though pressed in Spain, it was primarily made for the Japanese market. And that's exactly where my copy came from - a Japanese dealer in the late 1980s. A local friend has the Lacochu original and there are scant differences between them.

The CD, by all accounts (and there are many), is a very poor vinyl transfer and thus I've avoided buying one. Not sure why more care wasn't applied - my vinyl reissue sounds perfect! Even if the masters were lost, most assuredly someone else in Spain has one of these mint LPs from 1987 like myself. The reissue is a 2 CD set released by one of the members of the band and he added his own solo music for disc 2. Because it is legit, I don't have it featured on the CDRWL, but here's my plea for a better CD! Maybe the Japanese dealers can convince them to try for a mini-LP version, similar to what they did in 1987? It would be a great candidate for a mini-LP in any case since the gatefold cover is indeed striking.

Group 1850 – Agemo’s Trip to Mother Earth. 1968 Netherlands

By all rights, the Dutch music ensemble Group 1850 should hold the same mythic stature that Pink Floyd obtained. First of all, Group 1850 represent Continental Europe's first progressive rock band. Their compositions are designed for the tripped-out effect: Organ overlays, relentless throbbing bass, active percussion, spacey / phased voices and, best of all, an acidic guitar tone that uses every bit of studio trickery and tone affectation available at the time.

Clearly a parallel group to Pink Floyd, Agemo's Trip to Mother Earth is taken from the same cloth as Saucerful of Secrets. In retrospect though, Group 1850's work is more creative - which one may expect from a Continental band without any commercial restraints. Sure, there are some pure psychedelic moments to be had - but just hearing the title track (technically titled 'I Put My Hands on Your Shoulder') should put anyone in awe who can hear this from an historical perspective. There just flat out wasn't anything like this in 1968 . The fuzz guitar, the trippy voices, the acid induced phased effects, and the drumming (oh my - the drumming). It's a true masterpiece in the field of psychedelic progressive music.

CD: 1997 Pseudonym
LP: 1999 Pseudonym
CD: 2019 Pseudonym (as part of an 8 CD box set called Purple Sky)
CD: 2017 Universal (2 CD reissue known as The Golden Years of Dutch Pop Music)
CD: 199? SPM (Germany)

Group 1850's debut was groundbreaking in many ways, including the original LP cover: A fantastic gatefold with a 3-D cover complete with glasses! The original Dutch pressing is the only one that was 3-D whereas the original UK press (also on Philips) had a focused picture which has a blue hue to it. Because the original cover appears fuzzy, I also added the UK LP cover for this entry.

My first copy of this album was the rather shoddy SPM release which has little to offer. But 1997's Pseudonym CD is like the LP, and it also comes with a 3-D cover and features a whopping 13 bonus tracks. Group 1850's 45's were just as "out there" as their LP tracks, so these bonus songs are enlightening. Two years later, Pseudonym went forward with an exact LP replica. They did such a good job, I haven't felt it necessary to fork over for an original, even though this is a favorite album. The LP does not have any bonus tracks however.

This album has also been part of 2 significant compilations. The first was the Golden Years 2 CD set. And finally the album is part of the definitive 8 CD box set Purple Sky. While this latter compilation is absolutely essential for most of Group 1850's catalog, Agemo's Trip is the one CD from the past I will hang onto anyway. If nothing else for the 3D glasses!

Last listen: December 22, 2017

Versailles - Don Giovanni. 1992 France

All that was wrong with the debut was corrected here. Versailles put everything together on Don Giovanni for a mature progressive rock album in the theatrical French language tradition - itself a nationalistic response to the immense popularity of those pesky English and their blasted Genesis. So, in effect, Versailles are to Ange and Mona Lisa what IQ are to Genesis. And vocalist/guitarist/flautist and overall ringleader Guillaume de la Piliere is their spiritual heart, in the same way Peter Nicholls is for IQ. His vocals are the centerpiece to the compositions, but since most of the tracks clear the 10 minute mark, plenty of room is given for the most impressive instrumental work.

What was so striking about this release in 1992 was the pointed use of analog equipment, something that was highly unusual in its day. Hammond organ, string synths, Rickenbacker bass (or similar), acoustic and compressed electric acid guitar solos are all out of the 1978 French cookbook. If you've heard the private press French albums from this era (Arachnoid, Archaia, Nuance, etc...), then you'll know exactly the type of guitar sound I'm talking about here. 1992 is also the year Anglagard burst onto the scene, and yet Versailles went by with barely a mention. The good news is they continued on from here with two more albums (really 3 if you count the last Mona Lisa album), which are arguably even better and more powerful.

Ownership: CD: 1992 Musea

9/1/12 (new entry)

Alphataurus - Dietro L'Uragano. 1974 Italy (archival)

Similar to many Italian bands of this era, Alphataurus seemed to flare out after one release. But Mellow Records turned up a complete album minus the vocal sections. Apparently the band was looking for another singer when they finally gave up. 1974 was the end of the line for most of the Italian scene, so ultimately this should come as no surprise. On Dietro L'Uragano, the music is more playful, slightly less complex, and far more dependent on keyboards than the debut effort. Parts of this remind me of the heavy but simple tracks found on The Trip's Caronte album, though overall Alphataurus is more engaging here. ELP circa Tarkus, is another obvious influence. Unfortunately it's apparent the music was written with a vocalist in mind, so there are some gaps to be found.

I sold the CD a few years ago to no regrets. The good news is that these tracks were re-recorded on their two 2012 albums, and are fantastic.

CD: 1992 Mellow

9/1/2012 (new entry)

Franck Dervieux – Dimension M. 1972 Canada-Quebec

Franck Dervieux's sole album is the root system for later bands such as Contraction and Ville Emard Blues Band. Keyboard heavy progressive rock, with a looser structure, making it highly appealing on repeated listens. A very important album for the region, and one of Quebec's finest. Sadly Dervieux passed away not long after this release.

Ownership: LP: 1972 Columbia. Features a wonderful textured gatefold cover, and comes with a full 4 page insert. I picked this up in 1994 via mail order from a store in Montreal. 

9/3/09 (CDRWL); 9/1/12 (new entry); 7/23/19