Wigwam - Pop Liisa 03. 1973 Finland (archival)

Wigwam - Pop Liisa 03. 1973. Archival

CD issue: 2016 Svart (w/Taivaanvuohi)

LP issue: 2016 Svart

Wigwam were always something of a "Beatles Effect" type of band, whose diverse membership would compose their music along different lines from each other. But that lack of cohesion also allowed for a blossoming of original ideas. When it worked, such as on Fairyport or Being, the results were divine. In other cases, Wigwam lacked flow and purpose. And they predictably devolved into a commercial rock band in the mid to late 70s.

So it comes as no surprise that when Wigwam had a chance to perform live on the radio in front of a studio audience (November 7, 1973 to be precise), that their set would be random and all over the place. According to the liner notes, John Lennon's 'Imagine' was actually a warmup song, and was not broadcast that evening. Apparently this was a staple of their live act. It's a straight cover song, so we'll consider it a mulligan. On the other hand, Pekka Pohjola's 'Nipistys', from his own debut album, is an instrumental tour de force and easily the highlight of the set. Jim Pembroke's 'Grass for Blades', shows off his singer songwriter skills, though there are plenty of extended instrumentals to capture the imagination. 'Fairyport' is an extended version of the familiar track, but once again quite scattered, with a mix of heavy progressive, blues, rock n roll, etc... Overall, a very fine performance, and a wonderful archival find (as is the whole series). But for me, it was a bit too diverse to be considered excellent.

Personal collection
CD: 2016 Svart w/Taivaanvuohi

Taivaantemppeli - Jazz Liisa 02. 1973 Finland (archival)

This will be our first report on what I (and many others) consider the most significant archival find since Long Hair dug out the SWF Sessions. As the label notes, this is as significant for Finland as the John Peel tapes are for the UK. All of these are "live in the studio" (Liisankatu Studios in Helsinki), and were recorded in front of a modest audience, and broadcast on national radio. What a break for all of us that these were maintained for future generations (though some were apparently re-recorded back over unfortunately). Each recording is being released on vinyl separately, with two recordings combined for the CDs. Perhaps unbelievably, the sessions were set at 40 minutes flat, so it ended up being the perfect length for LPs and 2-for-1 CDs!

Our feature today is for Taivaantemppeli, which translates to The Temple of Heaven. I think I could stop right there, and have everyone's curiosity piqued. It appears the band were a loose collective born out of Unisono, and may have not been a touring concern. The broadcast was recorded on November 21, 1973. Taivaantemppeli play in a decidedly edgy rock-jazz format, similar to other northern European bands of the early 70s. This isn't breezy fusion, but rather the rough edge sound that modern listeners crave. The primary composer is Make Lievonen, whose name I recognized for releasing a very obscure fusion album in the late 70s. He was also the bassist in the Unisono Quartet. But the two main solo protagonists are what makes this album special: Pekka Rechart on electric guitar and Matti Jakola on flute. Rechart in particular lights it up, and possesses a delicious fuzz tone guitar sound, reminding me a bit of Elonkorjuu. Jakola's flute provides the softer edges, but wails at all the right times. Not to be overshadowed, Olli Ahvenlahti's piano and Rhodes work adds just the right amount of atmosphere and backbone. And the hand percussion only fuels the fire. For certain, the compositions are rather straightforward, and much time is given to soloing. But this is an instrumental rock album as played by experienced jazz warriors. The final track 'Lisa' is sublime, mixing both atmospheric flute with a heavier guitar based climax. Much of this recording reminds me of Wolfgang Dauner's Et Cetera, and that's high praise indeed. Overall a can't miss item for fans of early 70s jazz rock.

---Unisono Quartet

I'm not going to feature the first Jazz Liisa album separately. I recognized the name Unisono from a later fusion album. This is a bit different and it is very good for what it is: A straight instrumental jazz album. Piano based, with plenty of sax soloing, and a bit squonky towards the end at that. I do like it, but it's not terribly distinctive, and gets away from my personal interest area. As 40 minutes of bonus material to Taivaantemppeli, it's great to have, but I wouldn't buy the LP if that's what I was collecting. 

Ownership: CD: 2016 Svart. Jewel box with complete liner notes.

7/30/16 (new entry)

Kosmose - Kosmic Music From the Black Country. 1973-1978 Belgium (archival)

I've been sitting on this double CD from Kosmose for a few months now (I bought it based on a recommendation from UMR's good friend Achim from Germany). The CD is well over 2 hours of music, and could have been released as 3 separate albums. I knew it would take a focused listen - one with a lot of patience. I had to dedicate a single night to it. As Kosmose member Alain Neffe says "We were using improvisation techniques drawn from avant-garde jazz, but with a rock sound, and an electronic sound, experimental, noise based...". If this rings familiar, then yes indeed, it is very much the philosophy of the original Kosmische Krautrock sound. We're talking 1970 era Tangerine Dream here. Where everything and anything was possible - and it's all extremely psychedelic. At that point even Pink Floyd stopped going in the late 1960s.

Perhaps the oddest aspect of this release is the time and place. The recordings come from 1973 to 1978 (dates unknown mostly, only the 'Eighth' song is specifically placed at 1977), though it sounds a few years earlier than that might imply. And Belgium has no such history of freaked out psychedelic music like this, especially from the French speaking Wallonia section. Of course its neighbors do - France and the mother country of Krautrock naturally enough. Kosmose were also using film techniques to create the entire experience as one might expect from the Zodiac Free Arts Lab in Berlin circa 1969.

Really an extraordinary historical aural document, though not exceptionally great. For those who are predisposed to the earliest incarnation of experimental Krautrock, this archival album comes as an assured recommendation. Everyone else might need a bit of indoctrination first. It is not an easy listen admittedly but does get better as it goes, primarily because the album requires a mindset change - that does/will occur over the 2 hour length. Without the proper background, I would probably be the first to raise my hand and complain. But if curious to tackle further, I would suggest you have taken in (and accepted) albums like Tangerine Dream's Electronic Meditation, Annexus Quam's Osmose, Amon Duul II's Phallus Dei, Xhol Caravan's Motherf*ckers & Co, Can's Tago Mago, and Organisation's Tone Float first, then digest this monster of a set. Conditionally recommended to those who love this sort of avant garde psychedelic reckless abandon. I do.

Personal collection
CD: 2015 Sub Rosa

The packaging is an excellent 2 CD digi-pak set from Sub Rosa. And priced competitively. Comes with a full set of liners (in both French and English), photos, track instrumentation, etc... Incredible value really. The double LP set includes tracks ('Second' through 'Eighth'), but leaves off 'Ninth' through 'Twelfth' from the CD (there is no 'First'). So there's roughly 50 more minutes on the CD version. That's a significant loss too, so bear that in mind vinyl collectors. You may want both!

Last listen: February 5, 2016

Baumann / Koek - s/t. 1978 Germany

Though the natural reaction would be to assume that Peter Baumann was involved here, it turns out that this Baumann was a gentleman named Walter. Along with his friend and cohort, Ata Koek, originally hailing from Turkey. The duo had a fascination with synthesizers and, even though they were from faraway Bavaria, they made the journey to visit the premier synthesizer store in Bonn and purchased a used ARP 2600. After that, they were hooked and added a few more analog toys, recorded an album at home, and mixed it at Conny Plank's studio. Then self-released the album in a run of 1000. I'm guessing these guys had a bit more coin than the usual pauper musicians...

Given the time and place, and the hardware of the era, it is difficult to escape the shadow of Tangerine Dream and Klaus Schulze. And when you name one of your tracks 'TD-Mem', you're just begging for comparison. But there's more than style-copy here, and given Koek's background, one will pick up some Middle Eastern themes along the way. And honestly who can complain about those fat analog sequencers blaring away? Music like this is timeless, and there seems to be endless doors to open within the big house it occupies. 'Sequencer-Roll' is a throwaway track in a Hooked-on-Classics sort of way, but the rest is great listening for fans of Berlin Electronic music.

Historically speaking, while countless artists did mimic the almighty Schulze and TD, Baumann/Koek were one of the pioneers to do just that. Outside of the "inner circle" (Michael Hoenig, Manuel Gottsching, Peter Baumann, etc..) there wasn't as much electronic music in the Berlin style as one might think when first hearing it in 2016. Other artists would soon follow (Wolfgang Bock, Cultural Noise, etc...). And of course in the 2000 era, there was an entire movement that recreated the genre in their own image (Redshift, AirSculpture, et al...). These guys were ahead of that curve.

Don't overlook this one.

Personal collection

LP: 2016 Bureau B

The original album was initially a private press and later they appended "Well Known Records" to the jackets. An ironic label name if you think about it. The Bureau B CD comes in a fine digi-pak with an historical essay in English and German. No bonus tracks, but excellent sound.

Sacri Monti. 2015 USA-California

Sacri Monti are a new band from the San Diego area (north near Carlsbad), who play a very aggressive form of heavy psychedelic music. The reality is no one actually performed with this energy in the late 1960's, maybe Blue Cheer at the beginning, but this is far more focused and pertinent. Perhaps filtered even. And while you know Sacri Monti has digested the "stoner" genre in total, they somehow manage to avoid all the pitfalls that befell lesser groups who have tread similar paths. The guitars are heavy on the wah pedal, and the organ is thick as molasses. Killer solos, and compositions that actually seem to be... well... composed. There are no "slabs of fuzz distortion" or "vocals on the 6th whiskey" here. Just south of that actually, which is why it works so well. It's borderline Monster Magnet, but then they reel it back to the year 1970 just in time. "Just in time". Yes, that. Great start and I'm most curious what they come up with next.

Ownership: CD: 2015 Tee Pee

7/28/16 (new entry)

Proyecto A - s/t. 1970 + Proyecto B 1974 Spain (archival)

Proyecto A were a band from Barcelona lead by a one Frank Dube, and who could arguably be considered Spain's first progressive rock band, predating Maquina and Pan y Regaliz by at least a year. The music is at the meeting point of late psychedelia and early progressive rock, with a strong dose of horn rock. A surprisingly sophisticated sound for an album coming from Spain during the Franco era (especially as early as 1970). Mucho use of fuzz bass and guitar, along with the aforementioned fine horn section. The album tracks are planet names, and it's a concept album inspired by the recent moon landing as well as Gustav Holst's famous work. Borderline the very good and excellent fence line here, but weighting favorably given the pioneering spirit, just like the album's inspiration itself.

----Proyecto B

In addition to the original album, the CD and LP reissues include a full unreleased second album called Proyecto B which is from 1974 (3rd scan above). The irony of the material presented is that whereas the 1970 debut was a groundbreaking work for Spain, Proyecto B would have to be considered charmingly antiquated for 1974. There's a bit of Hullabaloo and lounge crooning interspersed amongst the late psychedelia aspects. Where fellow travelers The Canaries had progressed to Los Canarios doing a 2LP full blown symphonic work called Cyclos, Proyecto A were well on their way to doing The Hustle (do it... doo do doooo doodoodoo do doooo de doo). Despite what it may seem, I still found the music highly enjoyable and the melodies are quite engaging. And there's still plenty of period fuzzy instrumentation to sink one's teeth into. A superb addition to the original LP, and fascinating archival material. 

Personal collection
LP: 1970 RCA
CD: 2015 Sommor w/Proyecto B

The original LP is housed in a fine gatefold cover. The CD package also features full liner notes (in English, Spanish, and Catalan) and great sound. An essential purchase. 

Jan Akkerman - Profile. 1972 Netherlands

Profile is a somewhat bizarre solo album from Akkerman, coming at a time when his band Focus was at its commercial peak. One side is mostly sleepy acoustic numbers, though well done and a certain respect should be appropriately afforded. 'Blue Boy' and 'Stick' point to the earlier blues based Talent For Sale, but are livelier and much more kinetic. 'Maybe Just a Dream' sounds like any one of the Focus 'x' instrumentals. And then there's the side long 'Fresh Air'. Which sounds like Brainbox playing 'Anonymous II' from Focus 3, and is quite the exhilarating psychedelic tour de force. Akkerman's guitar is superb here, and is perhaps his finest moment on record.

Ownership: LP: 1983 EMI. Acquired new at Virgin Records in Edinburgh, Scotland (1984)  

At one point I had the 2 for 1 CD called A Talent's Profile which included Talent for Sale (1996 EMI). My notes for that album: As for the Talent for Sale album (1968), it's really just a straight up instrumental guitar blues rock work from Akkerman, with a bit of orchestration. Gives absolutely no indication whatsoever what he would later accomplish with Brainbox, and in particular Focus. Other than he's an accomplished guitarist... of course. Wish there was more to add here, but there really isn't.

8/26/84; 7/27/16

Circles - More Circles. 1984 Germany

In comparison to their debut, More Circles not only moves Circles much further ahead in time to their current era, but also about one country to the west. There is no doubt the duo was heavily influenced by one Richard Pinhas on a track like 'Several Steps...'. Some of these compositions could have been outtakes from Heldon's Interface or Pinhas' own Chronolyse. While I was amazed at how the debut captured the zeitgeist of the original Krautrock scene, here they seem to have completely embedded themselves into 1979 France. If you're like me, and your idea of a good time is listening to loud fuzz guitar up front with synthesizers providing the backdrop, well then... grab yourself a copy of More Circles. One will also pick up a distinct Tangerine Dream influence circa Phaedra, especially with the echoed "bird calls". In addition to this, there are also some far out avant garde ideas as well ('Mental Dart' in particular). Final track 'Spiral Dance' reminds one of classic Neu! Overall, an uncompromising piece of music.

Personal collection
CD: 2016 Mental Experience (Spain)

Exact same situation as with the debut: The CD reissue is taken from vinyl (masters are gone), but remastered nicely by Alan Freeman (Ultima Thule) and includes his full liner notes as well. An excellent reissue. Also to mention, Alan Freeman reviews each album individually per release, which is a nice touch. 

Circles - s/t. 1983 Germany

What drew me to the debut by Circles is it isn't some sort of ordinary 80s electronik album. For one, there are few sequencers and zero Moog solos. And it certainly isn't "minimal synth". No - rather Circles seems to have channeled their inner Can, especially their instrumental years around 1974 and 1975 - that happened to be documented many years after these recordings via The Peel Sessions (and my personal favorite era of the band). Lots of psychedelic guitars, psychotic echoed vocals, flute, sax, trumpet, and even some steady metronomic drums (perhaps almost too rock oriented compared to the ultra disciplined Can). Some of the spacier moments recall Cluster's II album. It's amazing to me how well Circles' debut album captures the early 1970s Krautrock spirit. There's absolutely nothing Eighties about it.

Personal collection
CD: 2016 Mental Experience (Spain)

The CD reissue is taken from vinyl (masters are gone), but remastered nicely by Alan Freeman (Ultima Thule) and includes his full liner notes as well. An excellent reissue.

Cybotron - Sunday Night at the Total Theatre. 1977 Australia

This one's interesting. For years it had been presumed this was a legitimate release made to look like a bootleg. When the internet discographies started out, and the tribal knowledge began to dwindle, this was often (as you see on sites such as RateYourMusic) listed as a bootleg. Well, given that the reissue was licensed from none other than Maxwell himself, it appears the in-the-know crowd was right all along. This is an authorized bootleg. And as some have pointed out, the story that now proliferates about gaining a new found audience via a bootleg probably has some credibility. It's a pity there aren't liner notes to accompany (at least for the LP reissue), to set the record straight as to why they did it this way.

Musically it's closer to Maxwell's Monster Planet than the more dynamic debut from Cybotron. Though part of that is the somewhat lo-fi recording, perhaps another reason why the band chose the "bootleg look". In addition to the two side long space journeys, one half of a rare single from 1978 is included, and is certainly the best sounding of the 3 tracks, though it's not even 4 minutes long.

A good album to own if already a Cybotron fan, or for those who enjoy 70's Berlin School electronic music in the Klaus Schulze tradition. Not top tier by any means, but enjoyable on the whole.

Personal collection
LP: 2013 Dual Planet (USA)

MacArthur. 1979 USA-Michigan

Namesake band leader and guitarist Ben MacArthur states in his liner notes to the newly reissued CD on Out-Sider: "In 1977...the Rust Belt was in full decline and jobs were getting scarce. There wasn't much to do, so we picked up guitars and wrote songs and recorded albums, because we loved music. Because we believed we could be something more than even rock stars. We believed out music would survive the ages." OK, now go read my introduction to the USA Midwest / Ontario Progressive Rock (1970's/early 80s) list. I'm telling you folks, this was the phenomenon of the time and place. There were no video games to distract, and no gainful employment to be had. Perfect then, let's create a band!

Further, Ben adds "I went to watch Bill (Heffelfinger, keyboardist, guitarist and engineer of MacArthur) play with a band named Labyrinth at a local fair, and they played 2112 by Rush and I was truly amazed!" And there it is again, a local regional hero providing the guidance, in this case Toronto's Rush.

And really, that's all you need to know about the debut of MacArthur. Rush is definitely the blueprint, but traces of other UK and US prog and hard rock bands are apparent. It's definitely an original work, despite the influences. Overall it's a very primitive, but earnest effort, by quality musicians and composers, looking to make their mark on history. Generally, this was the type of album that would be captured by the "cassette tape culture", that was just about to get rolling in the early 80s.  So yes, it does require a mind shift and a predilection for such artifacts. And I clearly do, so my rating and review is biased accordingly.

Personal collection
CD: 2016 Out-Sider (Spain)

By pure happenstance, the band was successful in getting 200 LP's pressed by the custom label RPC in New Jersey (hence the band was often wrongly referred to being from there, rather than Saginaw, Michigan). There is a dreadful bootleg that's been out there for years called The Black Forest, that was filled with misinformation. Not only did it insist on the album being recorded in Camden, New Jersey, but they appended the date of 1973 to it. To this day, all the online discographies maintain this bad data, because of a crappy pirate issue. The band was formed in 1977, so unless they have mastered time travel, we'll go with Ben MacArthur's date of 1979...

Originals of course are among the rarest of American progressive rock LP's (PPR's cohort Jeff actually owns one!) RPC was a custom record plant normally used to press albums for churches and schools... and the odd demo. It wasn't a traditional label. Even though 200 are pressed, it's likely less than half are still in existence. And with that premise, fortunately we have our first set of reissues from the Guerssen group of Spain, so we all can have a copy now! The reissues are of the usual high quality, with excellent liner notes and presentation.

Hopefully MacArthur II won't be far behind on the reissue front.

Under the Dome – The Demon Haunted World. 1998 England

No country took more to the classic 1970s Tangerine Dream trio than did England. Especially during the Berlin School renaissance of the 1990s, when a flood of bands came onto the horizon. Under the Dome weren't one of the headliners, though they most certainly held their own against some of the bigger names of the era like Radio Massacre International, Redshift, and AirSculpture. Neu Harmony was the CD arm for premier electronic music mail-order house Synth Music Direct and were one of the leading lights of the day.

Under the Dome on their debut The Demon Haunted World combine haunting and desolate atmospheric tones with crunchy and wedgy sequences. Each of the 4 tracks navigate through a variety of moods and textures, and in that way, are almost progressive rock like. I found the shorter tracks (short being a relative term here) to work best, like the thumping Moog Modulater (simulated) opener 'Flüssiger Vier-Takter' (8:34). The third piece 'The Bridge' (13:35) starts off in tranquility mode, but eventually the sequencers arrive to ensure this isn't going to be a waltz in the park. The appropriately named closer, 'Hell' (24:00), has some of the darkest textures since Klaus Schulze's Cyborg. I was hoping for a sequencer blitzkrieg to burst out of the depths, but they stayed mostly subdued and mid-tempo throughout. Worth noting there is quite a bit of guitar here (no real soloing though), adding much needed color to the usual barrage of electronic keyboard equipment. All in, The Demon Haunted World is a finely crafted Berlin School album.

Ownership: CD: 1998 Neu Harmony

7/22/16 (new entry)

Easter Island. 1979 USA-Kentucky

Easter Island is an album with a mixed reputation among prog aficionados, but from my perspective, Easter Island is practically the definition of my USA Midwest / Ontario Progressive Rock (1970's/early 80s) list. I do think subjugating oneself into the mindset of the era does enhance the experience. Tons of time changes, counterpoint, multiple harmony layers, mellotron, 70's analog production, and sundry razzle-dazzle will keep the most ADD among you tuned in. I've come across the term "commercial" in reference to this album. Hardly. Unless one thinks 'Gates of Delirium', Mirthrandir, Cathedral, or Yezda Urfa are commercial of course...

Ownership: LP: 1979 Baal; CD: 2016 Belle Antique (Japan). Very rare album in original form, though you'll often see pressing numbers that are lower than the reality. I've seen plenty over the years, but it's never been cheap. Apparently those with a "gold tear" are rarer than the silver, but honestly they probably just ran out of paint. My LP has the silver tear. The first CD reissue was known as Now and Then. There is almost no "Now" on it, just a short synthesizer prelude and postlude. The Japanese CD reissue on Belle Antique replicates the original to the exact detail (and has a gold tear). This version features two live bonus tracks from the late 70s, but they are very rough sounding, and not worth the purchase price alone.

Tyll - Sexphonie. 1975 Germany

Tyll were one of a handful of Krautrock groups on the Kerston label (Gaa, Epidermis, Proton 1 concert), a label known more for schlager, classical, and church music. Sexphonie is a very disparate album and each track is different from the other. You'll hear fiery fusion workouts, folk rock, world fusion, straight up hard rock, and even some politrock (tongue in cheek apparently) sung in German. Steadfastly using the native language, Tyll will remind the listener of groups such as Drosselbart, Prof. Wolfff, and Franz K. The latter gets a further comparison due to the copious use of heavily affected electric guitar.  On the spacier tracks, label mates Gaa are a fair comparison. And in many places I also hear the unique composition style of Lily's excellent V.C.U. album. Perhaps a bit too scattered to be a classic, but definitely one of Krautrock's more interesting footnotes.

Personal collection
CD: 2016 Mental Experience (Spain)

In 2016, we finally have our first authorized reissue. Mental Experience, Guerssen's Krautrock specialty label, have released the album on CD and LP. It sounds like it's from the master tapes, and features liner notes from Alan Freeman, including an interview with Tyll's founder Teflon Fanfara (what a name!). Excellent all around, though no bonus material was found apparently. Nice to finally be able to ditch my CD-R burn, as I was never able to secure an original LP.

Wolfgang Dauner Quintet - The Oimels. 1969 Germany

The Oimels is square on Strobe-light Mascara-caked Babe-a-liciousness. Dauner was no baby boomer, and this album represents the pure escapism of his generation whose collective childhood was nothing but a total living hell. And while Dauner is most known for his serious avant-garde jazz work, why not take a stab at creating the perfect soundtrack for a night at Lucky Lou's circa 1969? You know you're in a special place when track titles like 'Take Off Your Clothes to Feel the Setting Sun' and 'Come On In On In' sound like a good idea. And a swingin' version of 'Greensleeves' to sway your hips Hullabaloo-style with. YEA BABY!

Ownership: CD: 2006 MPS (Japan). The CD is a bit distorted unfortunately, even though it was licensed directly from the parent company in Germany. I would be most curious to hear the original LP or even the Long Hair CD for comparison.

7/21/16 (first listen/review)

Blast Furnace. 1971 Denmark

When I first purchased the Long Hair CD of Blast Furnace, not long after its initial release, I wasn't too impressed and sold it off rather quickly. I had a chance recently to source one inexpensively, so I decided to revisit again. This time I hear the album much better than prior. Of course any appreciation of an album such as this is to immerse oneself into the culture from which it came. In this case, 1971 Denmark. Blast Furnace's reputation, at least among well-heeled collectors, is that of a heavy psych rock masterpiece. It's not that, but what you do get is a well composed and performed set of hard rock, psychedelic, and just plain old rock tunes with guitar, organ, and flute leading the way. Highlights include the opening two tracks, the proggy 'Toytown' and the superb single cut 'Long Distance'. There's nothing here that is offensively bad, though there are interludes and short pieces that are superfluous at best. File along with other bands of its ilk like Midnight Sun, Alrunes Rod, Hurdy Gurdy, and Day of Phoenix. Most of the band found themselves in latter incarnations of Culpeper's Orchard, another good reference point. This album won't change your world, but definitely a good fit for any hard/psych rock collection.

Ownership: CD: 2002 Long Hair. Jewel case. Historical liner notes. One bonus track from a 45.

2002 (first listen); 8/29/07; 7/19/16 (review / new entry)

Devil's Kitchen - s/t. 1968-69 USA (archival)

Very fine discovery of live/studio recordings from legendary San Francisco band of the late 60s. Jamming psychedelic and blues are the main drivers here. Hard to avoid a Quicksilver Messenger Service reference here, though it's definitely the "West Coast" sound.

Personal collection
LP: 2011 Lysergic Sound Distributors

There's been talk of a CD issue (on the band's website) with 30 minutes of bonus tracks, but at this point it doesn't appear that will happen.

While this is a great discovery, I have to admit it falls short in the packaging and documentation aspects. I would expect more from a significant archival release such as this. The album is a regular single sleeve (like you would see in the 1980s), and besides one postcard bill insert, no other data has been provided. I say this not to be discouraging, but rather the opposite: It can only aid and encourage the collector to buy rather than be content with a copy on YouTube. My LP copy is 819/1000.

Morgan - Nova Solis. 1972 England

Morgan's debut Nova Solis is certainly one of the more unheralded UK progressive rock albums from the golden era. There's a strong influence from the "majors", primarily ELP and Yes, which wasn't as common for English bands in those days as you might initially think. Morgan Fisher's piano and organ work, in particular, are quite engaging. But how on Earth did they end up in Italy? Band member Mo Bacon's father was an international merchant, and passed on the band's tape, which ultimately ended up in the hands of RCA in Rome. The album was recorded in Italy with the likes of Il Rovescio della Medaglia and The Trip both in the studio at the same time. The latter band was most certainly influenced by Morgan's presence. Due to some ill-timed hard line negotiation, both RCA USA and UK declined to repress the album in their home countries. Thus its obscurity today. A fate it did not deserve.

Ownership: CD: 2012 Esoteric. Jewel case release with full liner notes.

1999 (first listen); 6//05; 4/7/14; 7/16/16 (review / new entry)

Present - Triskaidekaphobie. 1980 Belgium

Only a European band whose roots are clearly planted in the Rock in Opposition movement would name their album after the fear of the number 13 - in French of course. Perhaps the listener will have the same fear as they are greeted with rhythms performed in 13/16. Present's debut is a hellish music where the blueprint is clearly Univers Zero, who are a direct parent on the ancestry chart. A blueprint that is dragged through King Crimson's 'Fracture' for the ultimate bad trip. Bad trip as translated in the avant prog language I mean...

Personal collection
CD: 1989 Cuneiform (USA)

Schicke, Führs & Fröhling / SFF - Sunburst. 1977 Germany

SFF's sophomore release represents a mix of three different aspects of the band: Symphonic progressive, fusion, and electronic. The former is shown via 'Troja', a track that is as great as anything on Symphonic Pictures. 'Wizzard' opens the album in fusion fashion, with a catchy synth line, and a mad rhythm section. 'Artificial Energy' recalls Jade Warrior at a similar time. And so it goes. 'Explorer' plagiarizes Yes a bit, and is the only demerit of an otherwise great album. One that is often overlooked by collectors of 70s progressive rock.

Personal collection
LP: 1977 Brain
CD: 1993 Laser's Edge (USA) w/ Symphonic Pictures and Ticket to Everywhere

One of the rare times I photoed one of my own LP's for this blog (I'm just too lazy otherwise). Inside tip for PPR customers: You will see these photos again soon... :-) This is one of 3 extra LP copies I possess (don't ask why, not sure how that happened really). There are no vinyl reissues, so if you are an LP only collector, the original is the only choice. Fortunately there's plenty of supply out there.

Yezda Urfa - Boris. 1975 USA

From the Chicago area, Yezda Urfa represents the logical conclusion to where progressive rock was ultimately heading in its era. The trajectory in popular music from 1967 to 1975 was astounding by any measure. And yet it was just about that same time when the major corporations in music were looking to reign it all in. If you are looking for insanely complex, all-over-the-place, constantly shifting rock music, then Yezda Urfa is your nirvana. Not even in 1973 Italy do you find such insanity, and that was an organized scene where it seemed each band were trying to outdo each other. But, as it turns out, it was in northwest Indiana where the results came in, and Yezda Urfa ended up with the prize. Which is not the same thing as saying they were the best. No, they weren't in my estimation. But they sure were great!

As stated, there were few bands in the world that were more progressive rock oriented than Yezda Urfa. No matter, they still tried hard to achieve a major label signing. Fortunately they kept all their rejection letters to share with us, so we can all have a laugh today. You do have to feel bad for the A&R person at the record company who received the tape for Boris. He or she may have loved every minute of it, but there was NO WAY this band was getting signed up! My favorite comes from London Records: "After listening to your material we have reservations as to its commercial potential...". YA THINK?

The bonus track 'The Basis of Dubenglazy While Dirk Does the Dance', from the Syn-Phonic CD, is just as good as anything from the album proper!

History has a way of vindicating superior art such as this.

Personal collection

CD: 2004 Syn-Phonic
CD: 2010 Belle Antique (Japan)

The original LP is one of the rarest progressive rock albums on the planet, since it was only issued for promo purposes, and very few have ever surfaced. After waiting 15 years for the "artwork", Syn-Phonic finally managed to get this one out to the masses. I picked up the Japan mini as well, just for the heck of it, but it's sourced straight from Syn-Phonic's copy.

Epitaph - s/t. 1971 Germany

Epitaph were a German heavy rock band, typical of the 1971 genre, with a UK vocalist in tow which is always a plus (if persisting with the English language that is). 'Moving to the Country' starts the album off somewhat inauspiciously with that sort of breezy rural rock which dragged down their more famous later album Outside the Law. 'Visions' switches gears radically. Basically a symphonic ballad with a tremendous amount of mellotron. After this, Epitaph go for the "long form" track with extensive stretches of guitar jamming, which is certainly their forte. 'Little Maggie' gives us a "head fake" that it's going to be another rural affair, before tossing the composition aside so they can get down to the business of jamming. Arguably the album ends at its apex with 'Early Morning'. An excellent debut by an otherwise mediocre band that deteriorated as they went on. Though the followups Stop, Look, Listen and Outside the Law are quite good as well.

Personal collection
LP: 1971 Polydor
CD: 2005 Polydor/Universal

The Polydor/Universal CD comes in a fine digi-pak and features 5 bonus tracks that are quite good in their own right and make an excellent supplement to the album proper.

Missus Beastly - Space Guerilla. 1978 Germany

Missus Beastly's final album sees the legendary band going out in style. The constant line-up changes had taken their toll on the group, and though they continued on with different line-ups as late as 1982, the band finally collapsed with the advent of punk and heavy metal.

Flute and Clavinet are but two instruments that define this mature work by these veterans of Germany's jazz rock circuit. A mixture of high energy fusion and spaced out cosmic jazz with long flights of organ jamming define the lengthy title track, arguably the album's finest moment. Some beautiful piano can be found on 'Guitar for Sale'. 'Rahsaan Roland Kirk' is a 3 minute echoed flute solo, which is quite cool. 'Fuzzy, Don't Go to the Disco' brings in the expected funk bits, typical of the era, but features some fine shredding violin. 'Hoffmannstropfen' seems to be headed in a similar direction, before taking a distinct turn towards their classic 1974 Nova album, which is always a welcome sound. 'For Flü' demonstrates Missus Beastly at their most technical and progressive, with some superb flute and piano playing. 'King Garlic' continues with the piano driven sound, this time in a highly melodic composition, and a great way to close the album. For my tastes, Space Guerilla is second only to the monstrous 1974 self-titled album in their discography. I do hope a tape surfaces of one of their mid to late 70s performances. For example, 'Porta Erotica' that has been added as a bonus track to the Garden of Delights CD, from one of the famous Umsonst und Draussen festivals that we covered years ago.

Personal collection
LP: 1978 Schneeball
CD: 2015 Garden of Delights

As expected the Garden of Delights CD comes with full historical liners in English, and two relevant bonus tracks. Apparently the tapes were lost, so the CD was taken from clean vinyl. Honestly, I may not have known that if they hadn't said it. The original LP comes in a fine gatefold, and there are least two label designs.

Genfuoco - Dentro l'invisibile. 1979 Italy

From Siena, Genfuoco's sole album is an oddity in that it was released in 1979, at a time when Italian progressive rock was completely dead and buried. Perhaps even more strange, is that it sounds like the album was recorded in 1972. The album has this hazy psychedelic edge to it, especially considering the fuzz tone guitar, as well a distant folky vibe. Keyboards are spacey and atmospheric.

Genfuoco were, in fact, part of the Focolare Movement, an international Christian organization founded in northern Italy back in 1943. They sponsored gatherings known as Genfests (and still do apparently). There were other bands from this time with names like Gen Rosso and Gen Verde, that were purportedly more pure folk sounding (thanks to Italianprog.com for the latter data).

Despite this background, I was completely unaware this was a Christian album, and I've owned this album since the Mellow CD came out in 1992 (a very rare LP in its original state, since it was only sold at Christian bookstores and fairs). The point here is the album isn't heavy on "the message", or I should say it doesn't seem that way to me, since all the lyrics are in Italian and I don't know the language. It's also not a typical uplifting praise-be-to-the-heavens music, but rather a far more mystical sound is brought forth. And there's a nice balance between the instrumental and vocals sections. I found the songwriting to be way above standard here, and perhaps the "1972 aura" really gives this one an edge.

If you're beginning your journey into the fabulous world of 70s Italian progressive rock, don't go here yet. But once you have a taste for the fine wine, you'll find Genfuoco is a bottle that has aged well.

Personal collection
CD: 1992 Mellow

IQ - Seven Stories Into Eight / Seven Stories into '98. 1982 / 1998 England

When I did a full IQ retrospective a few years ago, I realized I had never heard their initial demo tape from 1982. It was then, for the first time it appears (not sure why?), I became aware of this CD. The fact that they re-recorded the material was even more exciting. So off I went to buy the CD... ugh. OOP and expensive. So I waited. And eventually I sourced a copy on ebay for a reasonable price, and here we are.

First off, I was determined to hear the tape first, followed by the re-recordings. The band of course pushed the new recording first, as they indicate often an apologetic approach to releasing the demo at all, but I think most fans wouldn't care about the flaws. And I do recommend a similar approach, otherwise it will take your ears quite a bit of time to adjust from professionals in a studio to amateurs in a bedroom.

The liner notes alone were worth the price of admission, and I learned some things about the band I never knew. For example, I didn't realize they had started out as an instrumental fusion band influenced by the likes of Return to Forever. And this shows prominently on the opening track 'Capital Letters'. It's not until the namesake 'Intelligent Quotient' do we first hear Peter Nicholls and their trademark neo prog sound they helped create. By the time we get to 'It All Stops Here', you can tell the band is firing on all cylinders and ready to hit the studio for their brilliant Tales From the Lush Attic debut.

After hearing the tape, I fully expected to be blown away by the new recordings. But honestly, I enjoyed them about the same, despite the obvious improvement in sound and execution. Perhaps it's because I grew up in the same cassette tape culture IQ operated in, and I appreciate the raw grit that comes with it. This CD is a must own if you're a fan of the early IQ sound, of which I most certainly am.

Ownership: CD: 1998 Giant Electric Pea

7/8/16 (new entry)

Cai - Noche Abierta. 1980 Spain

Cai are from the beautiful Andalusian city of Cadiz, and their sound very much represents the region it originates from. Noche Abierta is their second album, and first for major label CBS/Epic. Cai's music is one of the more overtly flamenco influenced albums with dramatic Arabian vocals, Spanish guitar, and the irregular rhythms associated with the art form. The rock elements are brought forth with stinging electric guitar, choppy piano, and the driving bass and drums. The majority of the keyboards come from a variation of the ARP String Synthesizer, and are a bit thin sounding to modern ears. Overall the album is a fine mixture of flamenco, jazz fusion, and progressive rock. The latter represented most by the closing 'La Roca del Diablo'. A very good album for those predisposed to the southern Spanish style of progressive rock, which includes this listener. Otherwise, Noche Abierta is unlikely to be the album to sway one's opinion in its direction.

Ownership: LP: 1980 Epic. Purchased online in 2018. This replaced the Epic CD that was the source of this entry. Originals come in a fine gatefold.

4/8/2018

Neverness - Cuentos de Otros Mundos Posibles. 2007 Spain

Neverness are a band from northwestern Spain, who released a trio of albums that have largely been overlooked by the progressive rock contingent. I bought this CD not long after it was released, thought it was OK/decent, and filed it away for a future listen. That listen has now happened... nearly a decade later. Proves once again, that sometimes the best thing to do is to wait for a different time and place before passing quick judgment, as the album now sounds great to my ears.

What Neverness has done is almost the impossible: Copy mid to late 70s Pink Floyd... and not be dull. I happen to really like that era of Pink Floyd, but it seems every modern band that goes on to emulate that sound misses the dynamics, and ends up just plodding along at a snail's pace. Neverness has not only captured the spirit of Wish You Were Here and Animals, but also the analog instrumentation and production. The music is heavy on atmosphere, and light on pyrotechnics, so it requires the right melancholic mood to appreciate. Other than perhaps 'Muro de Cristal', all the tracks here avoid the modern music trap, where 90's indie songcraft has penetrated too deep. And even that track has long flights of instrumental work to offset the potential snoozefest. The rest is very consistent and superb. I'm now curious what their albums are like, though it appears the debut may have been taken out of the oven a bit early.

Ownership: CD: 2007 Musea (France). Nice 12 page booklet with recording details, lyrics, photos, and images.

2//08; 1//13; 7/5/16 (new entry)

Locomotive. 1993 Canada

Well done avant prog from Montreal, with a psychedelic edge, which is somewhat unusual for the era and genre. While avant-prog can often be bogged down by a weighty academic disposition, Locomotive aren't afraid to rock out on occasion, and will even throw in some funk bits. I was most reminded of France's Philharmonie, though a bit less stilted.

A little bit of discography cleanup here. The band is clearly noted in the liner notes, disc, and packaging as Locomotive, not as a solo title by guitarist Andre Duchesne. The only time his name is separated out is on the front right corner, where they splash Duchesne, perhaps as an advertisement to those in-the-know. In addition, the disc is copyrighted 1992, though the liner notes mention that recordings concluded in January 1993. So 1993 seems to be a reasonable date, and certainly not 1991 as noted on RYM (nor 1992 on Discogs, which I have since fixed myself).

Sold the CD in 2020.

7/1/16 (new entry)