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 ~ Spain

Ouroboros (2009)

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 follow up.

Ownership: 2009 Musea (CD). Acquired in 2012.

9/20/12 (review); 7/18/18

 

Concerto for Piano and Electric Ensemble (2012)

Concerto for Piano and Electric Ensemble starts with the four part, 43 minute title track - and despite the name - this isn't an academic exercise in composition studies. Nope - it's pretty much a combination of good old fashioned early 1970s progressive rock and modern avant progressive. The abundance of acoustic piano points to the classic Italian scene like Banco del Mutuo Soccorso or Metamorfosi, whereas the constant counterpoint and modern production qualities recall anyone from Japan's Machine and the Synergetic Nuts to fellow countrymen October Equus. Concerning the latter, this is no doubt a similarly dense and complicated work, though not quite as impenetrable as October Equus can be at times. Oh, and let's not forget that Kotebel is here to rock, so this isn't some charted sheet music chamber styled tedious snoozefest. The omnipresent Fripp styled guitar leads will certainly keep you awake, if not the persistent rumbling bass and energetic percussion. The "electronic keyboards", as they are credited, certainly like to emulate the mellotron as often as possible. Three other tracks totaling 16 minutes plus a bonus from 2008 round out the disc in similar fashion. And it's Dad who plays those fancy thing-a-ma-jigs. And he's also the group's founder and main composer. And who's that playing the piano? None other than his 22 year old daughter. You know he is beaming with pride. And he should be.

Ownership: 2012 Musea (CD). Trifold digipak with recording details and photos. Comes with a DVD that I have yet to view. Acquired in 2012.

8/27/12 (review); 3/15/26

  

Omphalos (2006)

Omphalos is the album that catapulted Kotebel into a more formidable full band progressive rock operation. The addition of full-time soprano female vocals and flute greatly contributes to an entire new dimension of their sound. And while there's a bit of "progspotting" throughout the disc (in particular ELP, King Crimson, and Mahavishnu Orchestra - they all get a day in the sun), the overall package still comes across as entirely original. This is a dense work, that isn't afraid to rock out, and one that will require many listens to fully comprehend. The female vocals, piano, and flute definitely adds that Bacamarte meets Gotic esoteric reference that hardcore progressive rock fans tend to cherish. I'm guilty as charged.

Ownership: 2006 Musea (CD). Acquired in 2012.

8/25/12 (review)

Also own and need to review Cosmology.

8/25/12 (new entry)

Il Bacio della Medusa ~ Italy

Deus Lo Volt (2012)

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:  2012 private (CD). Hardbound book cover with a libretto. Acquired in 2012.

9/18/12 (review)

Discesa Agl'inferi D'un Giovane Amante (2008)

Il Bacio della Medusa is back with their sophomore effort Discesa Agl'inferi D'un Giovane Amante. Just rolls off the tongue doesn't it? Well if there was any doubt where Il Bacio della Medusa's heart was after the debut, then those were put to rest for the opening here. With the addition of violin, Il Bacio della Medusa declares that they are indeed a progressive rock band, and they're here to stay. Simone Cecchini's vocals have definitely improved, and you can tell he's studied the early 70s masters intently (and even more so on their 3rd album). Love the Pholas Dactylus styled psychotic narration. His performance is definitely one of the highlights of the disc. Meanwhile Diego Petrini gives the old fashioned piano more air time, which is always welcome here at UMR. Not to mention plenty of old school organ. Eva Morelli's staccato flute is layered on the constantly changing rhythms, and guitarist Brozetti still has a bit too much pig squeal in his guitar, but he can lay off when appropriate. For those who miss the glory days of Osanna, you could do worse than pick this album up on your next order.

Ownership: 2008 Black Widow (CD). Acquired in 2008.

2008 (review)

9/28/09 (new entry) 

Il Bacio della Medusa (2004)

Il Bacio della Medusa may have entered the scene quietly, but that album cover certainly is striking. Like a cross between Nuova Idea's Clowns and Manilla Road's The Courts of Chaos, one might imagine this to be some wacky prog metal take on the classic Italian 70s scene. Fortunately it is not and is much more reverent to the Italian progressive rock masters than heavy metal. Still, this is definitely their heaviest album, and also their most modern sounding. It could pass for sophisticated hard rock as much as symphonic progressive. In that way, Il Bacio della Medusa started their career much in the same way as Deus Ex Machina. Hey, you gotta start somewhere. And in 2004, there was a lull in the retro progressive movement, and it seemed every band coming out of Italy were either prog metal nuts, or Dutch styled neo progressive bands singing in English, neither of which interested me much anymore. So here comes Il Bacio della Medusa with their flutes, psychotic Italian vocals, crazy dynamics, even an accordion, plus more ideas than they could control at that time. In retrospect, it's an excellent album, where perhaps the only fault was the aforementioned crunchy guitars, which belied their overall approach.

Ownership: 2004 Black Widow (CD). Acquired in 2009.

9/28/09 (review)

9/28/09 (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.

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! ~ Sweden

Horselmat (1971)

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).

This is 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.

Ownership: 2011 Creole Stream (CD). Acquired in 2012.

2009; 9/13/12 (review / new entry); 2/7/18

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 ~ USA ~ Philadelphia, Pennsylvania

Yellow Sunshine (1973)

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

2008; 9/10/12 (acquired / review / 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). Acquired in 2012.

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). Acquired in 2012.

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)

Apoteosi ~ Italy

Apoteosi (1975)

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. 

---5/20/25

Really not much to add here. The album continues to impress and maintain its high rating.

Ownership: 1993 Mellow (CD)

1993 (acquired); 9/6/12 (review / new entry); 5/20/25

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)

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)

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