The Freeborne ~ USA ~ Boston, Massachusetts

Peak Impressions (1968)

---2004

Pretty forward sounding psych given the 1968 release date. Varied and deeper than most. Groups like Strawberry Alarm Clock were here but more immersed in pop. The Beatles of course dabbled with these sounds as did the Doors. Maybe closer to some of the Vanguard bands of the day, like Listening or The Far Cry (who were both also from Boston). Lots of instrumentation (trumpet, sax, organ, piano, fuzz guitar, cello, harpsichord, recorder amongst the usual), many meter and style changes (freak out psych, early prog, jazz, sunshine pop, folk, baroque), loads of vocal effects. A truly innovative album. I'm on the 3rd listen and can't decide where I'm going with it.

---12/27/17

Boston's The Freeborne represents some of the finest songwriting of the 60s psychedelic movement. There's echoes of the Doors, but in general, The Freeborne were one of the more innovative of the groups of the day - all operating with the context of relatively short songs (final track on each side sees the band stretching out a bit). Fine guitar, organ, vocals - everything you want in a psych album, but rarely get.

You will often times see this album listed as from 1967. However the CD corrects the record so to speak. There are multiple references and proof of a 1968 release. For example: "Notes on the master tape box imply that the mixing and editing of the album occurred on March 27, 1968". Another reference is a half-page advertisement in the July 1968 "New England Scene" magazine that blares out that Peak Impressions is "Just Released !!"

Ownership: 2014 Arf! Arf! (CD).  Booklet filled with historical liners, mono bonus cuts, as well as three reunion tracks. 

2004 (first acquired / review); 12/27/17 (update); 11/5/25

Earthen Vessel - Hard Rock Everlasting Life. 1971 USA-Michigan

Earthen Vessel were a band from Lansing, Michigan who got caught up in the "Jesus Rock" movement. Whereas 99% of the bands operating in that territory are pretty wimpy, Earthen Vessel cranks up the amps and the guitars just wail on here. One of those albums that fall between hard rock and heavy psych, the first 25 minutes of this album just blazes throughout. Only the final short 'Get High' (On Jesus) will remind one of a typical church youth group hymn. And these guys aren't "sort of Christian" either, they're preaching the Gospel from the mountaintops, with dual female/vocals all through. And yet it doesn't distract in the slightest, unless you have religious issues. Easy recommendation to fans of the aforementioned genres.

Personal collection
CD: 1999 Gear Fab

Fine reissue with historical liner notes written by one of the members of the band. Original LP's are a small fortune.

Snakes Alive. 1975 Australia

Snakes Alive were a group that I discovered in my early CDRWL research days. There was much question of its authenticity at the time, especially given the obvious photoshop cover. But it was real, a demo pressing from a circle of Australian musicians who had access to a recording studio and took advantage of it. About nine years ago I wrote the following in the blog days:

---

In the early 70s, the music world was teeming with jazz fusion / jazz rock bands. The major two schools were a) The technically proficient, as defined by the Mahavishnu Orchestra, Return to Forever, and Weather Report. And b) The Miles Davis long track deep groove, with many followers in Germany (in particular the MPS label), Poland, Italy, USA, and beyond. These were jazzers who were fascinated with rock's rhythms and power. But finding rockers who were fascinated by jazz was a much more rare breed. Snakes Alive are a rock fusion band. Of course bands like Mahavishnu still come to mind. Even early Zappa and Xhol Caravan to be honest. But, you know, Finch came to mind too. There are vocals, but they are sparse. Trumpet, sax, flute, organ, and guitar are the solo instruments. And it rocks with a capital R. This is a good one, that's now receiving its just notoriety.

Ownership: CD: 2017 Belle Antique (Japan). Papersleeve edition and the first readily available copy to market. Originals are extremely obscure and was only a demo pressed in a quantity of 50 without a cover. A cover therefore has been appended in modern times (via the Poor House Record shop and subsequent bootleg), and this is what this CD issue used as well.

2008 (review); 9/13/10 (CDRWL); 12/26/17 (new entry)

Yajuh Ohkoku - Live. 1997 Japan

Yajyu Ohkoku - often times stylized as Yajuh-Ohkoku, in kanji 野獣王国, literally translates to Beast Kingdom, or colloquially Animal Kingdom - are a hard hitting fusion band from Japan. Unusual in that they debuted with a 2 CD live set. So this is nearly 100 minutes of instrumental jazz fusion, which is a monthly dose for moi. The style is 1990s digital all the way, so for those looking for 1970's raw wah wah guitars, fuzzed out Rhodes, or Hammond organ, you'll have to look elsewhere. This is Yahama land and pig squeal guitar all the way. Still, for what they set out to accomplish, Yajyu Ohkoku does an admirable job at doing such. If you're a fan of the Japanese fusion scene of Side Steps, Prism, Fragile, and Exhivision, then "Beast Kingdom" is well worth seeking out. The band continued on to release 6 more studio albums, each more obscure than the last.

Personal collection
CD: 2013 Clinck

The CD is stored in a double mini-LP gatefold. My copy is part of a 4 title box set called J-Fusion Masterpiece Collectors' Box that includes the 2 Keep albums + the Hiroshi Mirukami & Dancing Sphinx album. I bought it for the Keep albums, and like the name itself, I'm keeping all of these for those 2.

Joe O'Donnell - Gaodhal's Vision. 1977 Ireland

Joe O'Donnell's debut is a much unheralded album, but it's quite good. All instrumental fusion driven by O'Donnell's electric violin. There are smokin' parts offset by what could be best described as cinematic atmospheric pieces. Best tracks for my tastes include 'The Exodus', 'The Battle and Retreat Underground', 'The Fair', and 'The Great Banqueting Hall'. One of Ireland's best albums.

Personal collection
LP: 1977 Polydor (Ireland/Germany)

There are a few LP pressings of this album. The Irish presses are all housed in German gatefolds strange as it may seem, and that's what I'm keeping. The UK press is a single sleeve. There's also a German pressing as well, which I will be selling shortly. There also exists an obscure CD reissue released by Rory Gallagher's Capo label in 2004.

Melody ~ France

Yesterlife (1977)

Don't overlook this one! Or rather - don't judge a book by its cover. Given the 1977 date, the band decided on - or were forced - to use the rather atrocious looking Earth & Fire styled disco album cover. But in the end, Yesterlife is a far more professional album than their debut Come Fly With Me, in both composition and production. There's a high level of sophistication beneath the gloss. In fact some of the songs are re-recordings of tracks from said debut. Sure it's mitigated somewhat by the ambition of its producers, but the end result predicted the best aspects of the upcoming neo prog movement. Recently I visited the superb Edge - Suction 8 album from my collection, and Yesterlife recalls that fine album many times over. Woody bass, complex rhythms, loud fuzzy guitar leads, Mini-Moog lines, and powerful female vocals.

Unbelievably - for those that already know the Tapioca mispress of Come Fly With Me - which contains half of the avant-garde Mahogany Brain album, would you believe that Vogue switched the first two tracks on this album? Yea, 'Welcome to Wonderland' is the opening track. Jeez, these guys got the same breaks as those trying to leave Gilligan's Island...

The older tracks that have been re-recorded include: 'Merry-Go-Round', 'Run Faster', and 'Yesterlife'.

Ownership: 1977 Vogue (LP). Gatefold. 

1990 (first listen); 12/10/17 (review)

Come Fly With Me (1976)

In short, Melody are a symphonic rock band with female vocals. The sound of Come Fly With Me seems more from the early 1970s, and wouldn't be out of place with albums by Mad Curry or Earth & Fire for example. There's also a psychedelic space rock undertone present throughout, that perhaps explains why one gets the feeling the album was recorded from five years earlier. Unfortunately the recording sounds like an unprofessional demo, and is fairly sludgy overall. Hopefully the masters still exist, and the sound can be brought out to its fullest! Musically the album is very interesting, especially if someone can possibly scrub away the grime.

It's also worth pointing out that most, if not all, of the Tapioca presses (the inheritors of the Pole label) of Come Fly With Me feature one half of the Melody album combined with one half of Mahogany Brain's Smooth Sick Lights, which is an avant-garde noise fest and is a completely different style to Melody. This version was my introduction to the band which left me confused about Melody for years. Fortunately I now own the Pole version on LP.

Ownership: 1976 Pole (LP)

3/9/14 (review)

Neither have been reissued as of 2/22/25.

12/10/17 (new entry)

Quiet Sun ~ England

Mainstream (1975)

Quiet Sun's sole album is about as good as it gets when melding the tuneful Canterbury style with that of a ferocious jazz rock band. Love those thick fat analog fuzz tones throughout! The title seems to come from the rejection of the album by multiple record companies who were more interested in obtaining a hit record. Though it appears the A&R gentleman from Warner Bros quite liked the sound and was at least interesting in hearing them live. Island, on the other hand, trashed the sound so. And that's the label it ended up on, so go figure.

Ownership: 2008 Arcangelo (CD). Papersleeve. Same as the Expression reissue (Manzanera's own label) with similar liner notes and exact sound.

1993 (LP acquired); 12/10/17 (review); 11/4/25

Medina Azahara. 1979 Spain

One of the 3 pillars of the Rock Andaluz scene of the mid to late 1970's, Medina Azahara's debut is filled with the energy of southern Spain. Great fuzzy tones and an urgency similar to Mezquita, and the passionate Arabian vocals recall Triana at their very best. 'Hacia' Ti' is the 5 star highlight, but 'En la Manana' and the closing two tracks are in the running. A brilliant album throughout.

Ownership: LP: 1979 CBS. Gatefold. Acquired in a trade with a friend (1994). The cover is just as gorgeous as the music itself, and is a permanent fixture on my "wall of albums".

CD: 1994 CBS/Sony. Jewel case commodity release.

1994; 12/10/17 (new entry)

Pegauro ~ Mexico

Vol. 1. (1982)

Such an interesting album this one is, coming from 1982 Mexico. The end tracks of each side are exactly what one would expect from an early 70s Italian prog rock album, with constant twists and turns, and an overall excitement and mystery that is rarely captured today. And the rest... (other than the very good 'Precasico')... is pedestrian rock with Spanish vocals. Not terrible mind you, but rather average across the board. This is just the kind of perfect album to be captured on a compilation somewhere. Grab those three tracks and run.

No reissues as of 3/31/25.

11/7/17 (review / new entry)

Sensations' Fix - Portable Madness. 1974 Italy

And here we have... the single greatest space rock album of all time!

No small claim that. Not an irreverent throw out to grab one's attention. Not an epiphany on the 4th beer. No - this is pretty much where I've stood for the 26 years I've owned the album. Last night it comes up again, and reminds me that it is, indeed, the single greatest space rock album of all time. Of course, not everyone will agree with that, and probably the it's overrated crowd will be along here any minute...

Twisty, turny, kinetic, psychedelic, jumpy, murky, primordial, psychotic, and melodic are just a few adjectives that come to mind here. The opening two numbers are great enough, but once 'Phase One and Phase Two' starts spinning in multiple directions, you are sucked into the vortex of another world and dimension. If this doesn't happen to you, then stop surfing the net, watching TV, texting on Facebook with a Russian hooker, or vacuuming the rug. Start from the beginning and pay close attention. OK you there now? Good, so now by the time you get to 'Pasty Day Resistance', you have reached what I consider the single greatest space rock track of all time. There's more twists and turns on this 5 and half minute track then I've heard on full double albums. 'Leave My Chemistry Alone' will finally polish you off, and presumably you're in a cold sweat by now. The album closes with two relatively sane compositions, and tries to return you to Earth, but doesn't quite get there. You are lost forever.

The fuzzy photograph on the front cover, taken in the same spirit as Big Foot and the Loch Ness Monster, tells you all you need to know about its provenance. This can't be Italian - nor German as it may seem - but something from another galaxy.

Ownership: LP: 1974 Polydor. Textured single sleeve. Acquired via mail order (1991).

CD: 2009 Universal (as part of Progressive Italia Gli Anni '70 Vol. 1 - The Universal Music Collection). Would be nice to get a higher quality CD reissue.

1991; 5/28/09; 9/19/12; 10/27/17 (new entry)

Relayer ~ USA ~ Houston, Texas

The Relayer Album (1979)

Relayer were a band from Houston, who managed to release one album before disappearing into the mists of time. With a name like Relayer and a colorful rainbow fantasy cover, one can expect 'Gates of Delirium Part Deux' eh Oui? Non. Because they are from my home state of Texas, this private press wasn't too obscure up north here in DFW and I first heard this album some 25 years ago and quickly dismissed it as rubbish. During that time, I've gained an entirely new appreciation for the private press American music landscape of the 1970s that I've documented to death here on these very pages. And Relayer fits smack dab in the middle of that sound.

The album itself is interesting, because it almost plays like an archival CD issue, verse a real time released LP. And that's because they front loaded all the progressive rock tracks on Side 1. So the first side rounds up the usual suspects like Yes and ELP, with a hint of Styx's Grand Illusion, for a very satisfying listen. Side 2 treads in commercial waters, more towards Styx's Pieces of Eight, with a bit of loungy fusion to boot. Overall, I'd weight it 55% AOR and 45% prog rock, so for those who have no tolerance for late 70s American FM radio rock, I'd steer clear. This is a very good album for the style, and one that I'm glad to have bought for the collection.

Ownership: 1979 Hamilton Street (LP)

10/26/17 (review / new entry)

Ruphus - Flying Colours. 1978 Norway

When I buy albums like Flying Colours, I'm not expecting a wall to wall classic, but rather I'm looking for at least one or 2 strong compositions to make it worthwhile. And that's just what I received with Ruphus' 5th effort. The title track and 'The Rivulet' are both very pretty numbers, with a good groove, and fine melodies. The female vocals are very pleasant in this context (much better than any of her contributions on Inner Voice). Both these tracks reminded me most of the debut by the Canadian band Contraction, of all albums. 'Joy' is a powerful fusion track with great use of clavinet, and represents the 3rd really great song here. 'Frysja' goes to Ruphus' Norwegian roots, and recalls what bands like Kebnekaise were doing over in Sweden. Unfortunately the opener 'Foodlovers' Diet' is very off-putting, where the vocals are strained (as they were on the previous album), and the music is somewhat irritating to be honest. So best to start with 'Frysja' and enjoy the soft moods and warm afternoon. Overall a fine effort from Ruphus, who managed to tap into the best characteristics of the late 1970s funk fusion fad. A surprising improvement on their preceding effort.

Personal collection
LP: 1978 Brain (Germany)

Niagara ~ Germany

S.U.B. (1972)

Niagara were founded by drummer and percussionist Klaus Weiss, who also happened to be the leader of the fine jazz rock group known as Sunbirds. Niagara released three albums in the early to mid 70s, the first which is entirely percussive. Their second album S.U.B. is a jamming rock fusion session with an all star cast including Daniel Fichelscher (Popol Vuh), Kristian Schultze (Passport, and leader of the The Bridge / Recreation album), and Udo Lindenberg among a handful of others. The presence of trumpet and the bass heavy percussive driven sound reminds me of early 70's Miles Davis, especially on the opening title track. Compositions such as 'Niagara' and 'Gibli' are similar to their debut, in that they are primarily percussion ensembles. 'Kikiriti' is the highlight for me, with an abundance of flute, and recalls Weiss' other outfit Sunbirds, especially on their own debut.

Ownership: 2016 PMG Audio (LP)

6/12/10 (review); 10/26/17 (update / new entry)

Taipuva Luotisuora - II. 2006 Finland

After being completely blown away by their debut, I rushed out to buy the followup which had just been released at the time I’d discovered the debut. Some noticeable changes have taken place in the short year since. The guitars are slightly heavier, not quite metal, but a distinct modern hard rock crunch is present. There are now vocals, which could be a great addition for a band like Taipuva, but I felt they’re executed all wrong for the exotic music at hand. First the lyrics are in English, rather than the more interesting and non Indo-European Finnish. Worse, they’re delivered with the whiny American indie style that seems will never go away (sigh). Perhaps a more mysterious approach to the vocals (female, echoed, whispered) would be far more interesting for the music that Taipuva play. The instrumentation seems stripped down a bit (though the liner notes still call out the kantele, violin, Hohner Melodica, and woodwinds). Also, not near enough of the Hidria Spacefolk, Korai Orom sound as prior – though as a plus I do hear some of the much missed Dutch group Kong. And finally, the modern electronica sounds of the debut are even more in use here, most notably on ‘Uotila’ and ‘Unaja Infinite Laser’. Now this latter point actually demonstrates some progress for the band. Like a good movie director would employ, the special effects are used to enhance, not overwhelm the proceedings. I don’t want to overplay the negative here with the vocals, as "Viking Zulu" does possess a good voice, and there are only 4 tracks where they are utilized, out of 9 total. In some ways, all the tracks (including those with vocals) are more complex than even the first album, which is outstanding to see. Still, the Taipuva Luotisuora tribe" that the music created for my imagination is missing here. So probably this album is the one that is favored by the majority, but I found it more typical of the underground scene. I miss the exotic nature of the debut. Not wanting to send the wrong message here – this is still a fantastic album, just a bit disappointed that it seems to be a step towards the middle.

Ownership: CD: 2006 Kaakao

6/7/06; 10/26/17 (new entry)

Litmus - You Are Here. 2004 England

Litmus' debut You Are Here blazes out of the gates with a monolithic guitar riff, twee-twee-twee Moog knob twiddles, and a neanderthal 4/4 rhythm, I was immediately reminded of those 90s aggressive festival rockers Omnia Opera, minus any of their Floydian cosmic buildups. Or, of course, I could have mentioned the real inspiration at work here – which would be primo early 70s era Hawkwind, if Lemmy ran the band that is. They put the “B” in subtle, and pulverize most of the songs right through the wall. The keyboardist is the same gentleman who runs the excellent Planet Mellotron site, and so no surprise the mellotron gets more than its share of studio time. Though good luck in hearing it over the racket. I like my space rock a bit more cosmic and trippy meself, but OK, that’s not their bag.

Ownership: CD: 2004 private

2008; 10/20/17 (new entry)

Hidria Spacefolk - HDRSF-1. 2001 Finland

Finland’s Hidria Spacefolk broke onto the scene in 2001 with HDRSF-1, which featured recordings from as early as 1999. And what a debut it is! Hidria Spacefolk are one of the very few bands to take the Ozric Tentacles space rock via Hillage formula, and actually take it further by adding more instrumentation, putting together more complex compositions, and rocking harder than Ed Wynne and crew (that’s no small feat right there). While Hidria wasn’t even close to reaching their peak at this stage, there were plenty of signs they could put together a masterpiece (and their subsequent two albums did just that). Most notably ‘Sindran Rastafan’ is the type of space rock rave-up that leaves one amazed, exhausted, and overwhelmed. Hidria mixes wah wah style funk, hard rock guitar, cosmic and very fuzzy synthesizers, Middle Eastern melodies, Indian flute and didgeridoo, sometimes all in the same song! Variety is their strong suit, and they mix high energy jams with meditative quiet sections with ease. The band likes to change things around in a rapid manner, so the music never gets stale and always remains exciting. This debut demonstrated to the world that Hidria Spacefolk were to be one of the best space rock bands of the modern era.

Ownership: LP: 2021 Svart. Single sleeve with liner notes for each track - in Finnish, so not going to do most of us any good. Cool cover though. Recent online acquisition (2022)

CD: 2006 private. Jewel case reissue purchased upon release. For an album like this, a mobile CD is mandatory.

10/14/06 (Gnosis); 10/19/17 (new entry)

Bram Stoker - Heavy Rock Spectacular. 1972 England

Windmill was a UK based label that specialized in hokum. With titles like The Beatles Golden Songs (by the Studio Five Orchestra Singers & Chorus), Sing-Along With Phil Tate & The Happy Gang, and Immortal Reggae Hits by Black Funk - you pretty much know these were the albums staring you in the face as you checked out at the counter of your favorite discount nickel and dime with your undies and chewing gum. They were, as collectors call them today, an exploito label. A cash-in job.

And speaking of staring back, there was however one album that looked every bit as silly as the others, but in fact was a legitimate fully realized album. With the day-glo negative image of a mega babe, the album promises the middle aged housewife a Heavy Rock Spectacular - wow! What does that even mean? Well to the cynic, it's probably more like happy organ covers of The Beatles, Stones, Doors, etc... right? Wrong. Then is it really a heavy rock album? Of course not. What the hell is it then?

It's a prog rock album, heavy on the keyboards with psychedelic guitar accompaniment and vocals. Not that much different from albums by Morgan, Fields, Duncan Mackay, ELP/The Nice, etc... Some of the tracks borrow from classical music, but they're serious arrangements, not trite renditions. The album is quite consistent, with no real highs - nor lows - but a solid entry for the genre. It's really a tragedy the album was marketed as it was. Had it come out on Polydor, with a Hipgnosis like cover, and a title like Schizo-Poltergeist (wait a minute...), then it would have been more highly revered. As it is though, it remains a curio piece - an album that was completely mishandled in its day.

Ownership: LP: 1972 Windmill. The single sleeve LP was picked up online in 2009. Despite the exploito nature of the album, I love the cover all the same, and the original is prominently displayed on my wall of albums. It would have been even better had they left off the track titles from the front, yet another trademark of albums such as this. The first CD to market was the Audio Archives release, which changed the title and cover art. This was my first introduction to the album. This release seems to obscure all band member involvement, and copyright info. And it's taken from vinyl. So it's probably not one of their legit releases (the label had a few CDs such as this back in this time frame). That isn't the same thing as saying the band didn't benefit. It's possible the rights were tied up somewhere else and everyone hushed up. We may never know the full truth and no one will talk. There are for certain legitimate releases today, that use the original cover and add bonus tracks (recently recorded apparently). Released the CD in 2021.

10/13/21

Talitha Qumi - Despre Cuvinte. 1996 Romania

Not sure I can describe Talitha Qumi any other way than this, but would you believe Eastern European free folk meets early 1970s Italian progressive rock? Atman meets Errata Corrige meets Pholas Dactylus meets Sensations' Fix meets Nu & Apa Neagra meets Museo Rosenbach. Yea... I didn't think you would believe me. This album has the reckless abandon of the early 70's era, something you rarely hear today. Usually it's measured and calculated nowadays. An absolute gem of an album.

Ownership: CD: 2005 Soft

Recently the original cassette from 1996 has emerged as the source. So that proves its provenance which I wasn't sure about initially.

2/7/13 (new entry)

Stone Circus. 1969 USA-New York / Canada-Quebec

Here's another Mainstream label gem, and possibly my favorite album on the label. These Montreal based musicians (save one), decided to journey south of the border to New York to find their scene. Known as The Funky Farm, Mainstream decided to change their name for the release of the album. In typical record business style, Mainstream didn’t even inform the band of the name change! Featuring an outrageous psychedelic cover of a very colorful and oversized clown engulfed in flames emerging from an earthquake, it certainly would catch ones attention even for 1969, when such a sight was more common. I probably listened to the album 5 times in a row, as the music is the closest I’ve heard to that most magical of 60s psych bands – Strawberry Alarm Clock. Stone Circus possess the same songwriting qualities, and period instrumentation (fuzz guitar, old organs). It does miss that magic ingredient of naivete, that SAC was able to tap into so perfectly. Whether it’s the California sunshine, or the late date of 1969, it’s clear there's a little somethin' missing. Maybe a bit too much Velvet Underground? 'What Went Wrong', 'Adam's Lament', 'Mr. Grey', and 'Carnival of Love' are the more obvious tracks where the comparison holds to SAC. Side 2 does deviate from that particular harmony sound, but makes up for it with heavy acid psych featuring excellent guitar and organ. Stone Circus ends wonderfully with a fuzz psych jam in 'People I Once Knew'.

Ownership: LP: 1969 Mainstream. Single sleeve with absolutely phenomenal eye-catching cover art. Acquired from a local antique mall dealer (2021).

They had it in their "glass case", which means it's not going to be cheap. And it wasn't, except it was about 20% of the going online rate. My theory is the guy had priced it years ago, and never updated it. I'm sure I'm the first customer who would even want it! 

As for the CD, we already know the Mainstream label is locked up tight by Sony, and they've shown zero intention of reissuing these important works. So the existing reissue is of suspect provenance as they say. And that would apply to just about every other LP and CD reissue as well. Tragedy that. There is one intriguing reissue out there from P-Vine of Japan. Now it is very possible they entered into an agreement with Sony Japan for this reissue. They are an entirely a legit concern, so that would have to be considered the definitive reissue at this point. Or at least on the surface it would seem that way. In the near future I'll determine whether or not to keep the basic CD, now that I have the original in excellent condition. My guess is I won't (and I didn't...). It does contain short liner notes, which I preserved below.

2008; 10/17/17 (new entry); 12/27/21

Saluki. 1976 Norway

So.... I completely blew the call on this one. My initial review some 8 years ago tagged this as a failed funk attempt by Norwegians emulating a distinctly American style (which Norwegians are wont to do on occasion). And ya know, after hearing opener 'Come Down', few among you will disagree with said claims, though it's pretty good for the style if pressed. Then comes 'Autumn', and I could already see my story breaking apart. Some sort of Muffins confusion on whether to go Canterbury or Henry Cow-styled avant prog annoyance. I'm sure that was the internal band debate anyway... (sure). 'The Awakening' is a waste of time, I think we can all agree on this - including the band. 'Love to the Sun'. Yea, OK Mahavishnu John, where are we taking this? There apparently. With a funk angle. Hmmm. 'Uranus in Cancer' is a title already asking for trouble. It's kind of emotional proggy, a bit AORish, and pretty good actually. 'Fantasy Suns' is a waste of time, I think we can all agree on this - including the band (sound familiar?). At this point, I'm OK with my initial assessment. Then comes 'Hidden Path III'. Ah damn, this is really good. Deep jazz with a bit of funk in that Miles Davis sort of way. But more toward Kraut Fusion (1970s /early 80s) actually. And this leads us to the closer 'Take the Road Across the Bridge'. I swear I recognize this music! So time to Google for a reference per chance. I KNEW IT! It's a cover of a Junipher Greene track - in fact the opener to their landmark/brilliant 1971 'Friendship' suite. I mean, who covers Junipher Greene? In 1976? Oh yea, author Freddy Dahl was in both bands. I could not find another reference to this observation on the internet. A job well done, ashratom. And how about that naked genie-out-of-a-bottle cover? These guys had it going on, that's for sure. Problem is, I'm starting to look like the dude with the magic book. Uh-oh.

The album has recently (late 2017) been reissued on CD and LP by the Norwegian record shop Big Dipper (aka Round 2).

10/17/17 (new entry)

Rag i Ryggen. 1975 Sweden

Råg i Ryggen's sole album is a great representation of that perfect meeting place between progressive and hard rock. The instrumentation is pure fat analog, with organ, mini-moog, woody bass, loud electric guitar, and powerful vocals. Early 70s Uriah Heep would seem to be the main influence here, along with a good dose of Deep Purple and even fellow countrymen Trettioariaga Kriget. And on the folk based instrumental 'Spångaforsens brus', Kebnekaise rises to the fore. The lyrics are a mix of Swedish and English, though surprisingly there's no downturn in quality when utilizing the latter, as would be normally the case. I think those that dig bands like Blakulla and Saga (post November band), will find plenty to enjoy here. Easy recommendation for genre fans.

Ownership: LP: 1975 Rondo. The original comes in a very fragile thin single cover and is likely to have wear (as does mine). Recent online purchase from Sweden (2018).

CD: 2005 Transubstans. Typically great reissue from Transubstans with informative liner notes, photos, and good sound. There's also 3 bonus tracks, two from 1975, and the last from 1976 called 'Land Over the Rainbow', and it sounds very similar to the album proper. The sound quality on these are OK, given they appear to be an audience recording.

1/30/07; 10/13/17 (new entry); 11/21/18 (LP acquisition)

Novalis ~ Germany

Sommerabend (1976)

Recently I finally penetrated the debut Banished Bridge, capturing a drifty Krautrock vibe that I had missed prior. And the second album is the one I'd always held in the highest esteem (another one I need to revisit). As the years go by, I value melodic songwriting more and more, and that's right in the wheelhouse of this era of Novalis. So with all of that as background context, and the fact Sommerabend is typically rated the highest by fans, I figured this would be the listen where the album opened up for me in a big way.

Nope. In fact it took a step back. But at first I was highly engaged. The instrumental 'Aufbruch' is exactly what I was expecting, with memorable melody lines, and creative breaks. It is on 'Wunderschätze' that the albums begins to break down. At first, my positive bias carried it through. But a second listen had me realizing where the problem lies. And that's because the side longer title track doesn't hold up as well, and reveals this material weakness. Now I'm not suggesting it isn't any good - of course it maintains that melodic and spacey vibe Novalis is known for - but it gets a bit... dull on occasion. Whereas Banished Bridge maintains this Dom like downer mysterious vibe, Sommerabend just sounds mopey dopey at times. Perhaps the band is too sober by 1976. It's more like same era Eloy / Pink Floyd verse the more sprightly sound that Novalis seems to have patented, and exploited more on their sophomore effort.

Ownership: 1976 Brain (LP). Green label

12//93 (acquired); 1996; 6/3/13; 10/11/17 (review)

Banished Bridge (1973)

Novalis' debut has taken me a long while to digest. When I think of Novalis, I think of a band that is highly melodic, polished, superbly arranged, with sparse vocals in German. Banished Bridge is none of those things. Novalis' debut has about as much in common with the rest of their output as does Eela Craig, Scorpions, and Eloy's opening moves. I've often read that Banished Bridge sounds like early King Crimson, or even other more established UK prog bands of the era. I don't hear it myself. Maybe Wenzel occasionally sounds like Greg Lake, but with a thick German accent.

Still, what is it that we have here? I've owned this album in one form or another since the late 1980s and I couldn't tell you. Time to figure it out.

It's the title track that really throws one off the scent. So finally I decided to listen to Side 2 first. On these three tracks we have a fairly typical organ based Krautrock sound, very much what you would expect to hear in 1971. So from that angle, Novalis are behind the times, but still pleasant. Solid 3.5 material.

But the title track, this is the secret of the album. Basically it's a symphonic prog version of Dom's Edge of Time. What? Well... there are these long stretches of tranquil / drone trip-out music with mumbling downer vocals in English that do in fact recall a mold infested bridge-to-nowhere in the countryside. Out of the depths of depression rise the organ and synthesizers, which provides the perfect contrast. And so it goes between both styles for its 17 minute duration. Awesome. Had this been side 2 instead, I'm sure this album would be more highly regarded today. It sounds like a side 2 honestly.

Personally I think this album is a lot more "true Krautrock" than ever given credit for. After this, Novalis along with Eloy, pretty much defined the German variation of symphonic progressive rock. Almost the antithesis of the raw Krautrock sound we've been accustomed to.

Ownership: 1973 Brain (LP). Gatefold. Green Brain Metronome.

5/23/89 (acquired); 1997; 3/17/17 (review); 11/9/25

Vielleicht bist du ein Clown? (1978)

Once hearing Vielleicht bist du ein Clown?, you'll realize this is where Novalis has been heading for some time. They were never the most complex and densest of writers, and most of their compositions were rather straightforward. But they had a tendency to drench it heavily in dressing, giving it more of a superficial progressive rock feel. Where Novalis shines is their ability to write beautiful melodies, along with very pleasant instrumentals. So it was only logical the group would eventually trim the tree so to speak, and get down to their core competencies. I'd even argue this is stronger than their last recognized progressive rock album Brandung. Of course, Novalis are now on the slippery slope to commercialism, and have started to become more irrelevant to the average progressive rock fan. But this one is a nice transitional album. Better than most that tried during this era.

Former ownership: 1978 Brain (LP)

1990 (first acquired); 12/11/16 (review)

12/11/16 (new entry)

The Muffins - Open City. 1977; 1979-1980 USA (archival)

For my tastes, The Muffins are an entirely frustrating band. Their best work IMO is the archival material pre-1978, which is heavily influenced by the Canterbury movement, and is mostly represented on the fantastic Chronometers CD that came out some 17 years after the fact. The Muffins proper debut, Manna/Mirage, is an album of contrasts mixing lucidly composed, highly melodic, jazz rock tracks - with some of the most annoying tuneless/structureless improvisations ever put to vinyl. In effect, The Muffins moved from Soft Machine II to Henry Cow's In Praise of Learning.

And now we review Open City, which is in reality another archival release. I've owned the CD for many years, but never the LP. This is an important distinction because up until today, I hadn't paid much attention on how different they are - at least in terms of how to approach the album and its final result. As it turns out, the first 7 tracks are (mostly) unique to the CD and come from a concert in 1980. They're in full blown Henry Cow territory here. Since it's compact, it does bring out some of the better attributes of said band, that is to say there are actual songs here to enjoy with wonderful passages and even some fuzz bass, a vestige of their Canterbury past. But it also contains the mandatory checklist that includes monotone female vocals, noisy improvs, and a certain melodic structure that is so predictable, it's laughable - and yet that audience will tell you it's radical and unique and no one else has ever done it. lol, yea OK clique boys. Tracks 8 & 9 are from 1979, and again, we're treated to the Manna/Mirage side of the band. So as I was earmarking the CD for my next sale comes....

...the lion's share of what was on the original LP, itself an archival release from Cuneiform back in 1985. Tracks 10 to 14 are from 1977, and is a wonderful warm and sunny, yet complex, jazz rock with Canterbury overtones. I thoroughly enjoy this era of The Muffins. What a contrast to the edgy atonal later material. 'Not Alone' is the highlight of the entire disc, and it comes at the very end, nearly 50 minutes into it. No wonder I could never figure out why I kept this CD!

In some ways, Open City may be the definitive Muffins album. It captures both of their styles at their best, and is likely to please one or the other type fan, and in many cases both. For me, it's only the jazz rock/Canterbury side that works.

From a rating perspective, I will keep two grades: The LP is a half point higher than the CD - though I recommend the latter oddly enough to obtain the whole experience.

Ownership: CD: 1994 Cuneiform. Jewel case release with booklet filled with historical liners and photos. As noted above, this contains additional archival material to the LP.

2001; 10/11/17 (new entry)

Pentwater - Ab-Dul. 2007 USA-Illinois

Already a charter member of the Pentwater fanboy club, I just had to get the new album, even though these guys haven't released anything in 30 years and the album cover art leaves much to be desired. With most reunions, I duck for cover, figuring the band had long forgotten why anyone wanted to hear them in the first place, ergo the irrational desire for a quick FM hit. As if all the 18 year old girls will start swooning for 55 year old geezers singing about lost loves, or worse, some sort of fairy queen eaten by a jester elf... But this is Pentwater, and these guys were an intellectual bunch even amongst the intellectual, so its no surprise they came up with another winner. It's not perfect, and there were a couple of tracks that seemed to imply that maybe Neil Diamond had it right all along. But they catch themselves, and throw something in 13/8 with a mellotron on top and the world is all perfect again. Very few groups can pull off melody and complexity like Pentwater.

Ownership: CD: 2007 Beef

2007; 10/10/17 (new entry)

Mashmakhan - The Family. 1971 Canada

Mashmakhan's sophomore effort is light on songwriting skills, and the vocals sound a bit strained. The appeal? The instrumental breaks, where the organ, flute, and psychedelic guitar gather for some fine jamming. Here the band sound a bit like Jethro Tull meeting Santana, with a hippie vibe throughout. The album sort of peters out on Side 2, mainly due to the lack of any instrumentals. Relying on their compositions will not get them very far. The album ends with the band's most overtly progressive rock track, which isn't really any better than the songs on side 1 - just stretched out a bit. The Family is like many North American bands from the turn of the 1970 decade: They can't decide what they want to be. Psych, hard rock, prog, jazz, blues? No one seemed to know, and off into oblivion they went in a couple of years after three more singles.

Personal collection
CD: 1999 Collectables w/Mashmakhan
LP: 1971 Columbia

The CD combines both albums, but leaves off 'Mr. Tree', which is the 10 minute proggy track. Of course they did. Who would want to hear them stretch out, when there's perfectly bad 3 minute tracks to provide instead? Argh. Funny how the mainstream never could accept progressive rock, no matter what. Well, it's a happenin' now dummy's.

Oresund Space Collective ~ Denmark ~ Sweden

Dead Man in Space (2009)

Dead Man in Space is Oresund Space Collective's 6th proper album. It is also their very first LP vinyl release. It's a significant trend, as the medium demands an editor to distill the very best parts. And while Oresund Space Collective certainly does do that anyway, this forces them to think a bit harder on what goes in and what stays out. OSC is a band that is a natural fit for vinyl, and it's not surprising to see they have continued this trend since.

On the music front, Dead Man in Space is one of OSC's more coherent and focused releases - no surprise given the context provided above. Improvisational space rock jamming is still the name of the game, though here there's a bit of a jazzy bent in the rhythms and sounds. And I felt there were more poignant psychedelic guitar bursts than normal, giving the album just the bite it needs to be successful. If looking to start somewhere with OSC, Dead Man in Space is a good one to consider.

There's a CD version of the album (with different artwork), and it's about 20 minutes longer (of course it is), so much of what I said above probably doesn't apply to that version.

Ownership: 2009 Kommun 2 (LP)

3/14/11; 10/7/17 (review)

Oresund Space Collective (2006)

Oresund Space Collective are yet another Scandinavian space rock crew, who revel in the art of the groove and the jam, and eschew any kind of arty pretension. Large ensembles are the way to go when performing this kind of exploratory music, and OSC deliver all kinds of personnel and instrumentation (including multiple guitars and an array of vintage and modern keyboards). A true international bunch, in that their very name is the bridge between Denmark and Sweden - and led by the American scientist Dr. Space (Scott Heller). A fine beginning for the band, who were to improve greatly from here - not to mention become far more prolific.

Former ownership: 2006 Transubstans (CD). Copy #322

1/31/07; 9/12/11 (review); 12/10/17

The Black Tomato (2007)

The Black Tomato is Oresund Space Collective's third album and my personal favorite of the ones I've heard by the band. This title sounds more like a vintage Kosmische release rather than the more modern Ozric Tentacles school of space rock. Long tracks (two of the three clock over 30 minutes each in fact) that shimmer with that early 70's German vibe, but also keeps the motor running throughout, so there's no room for boredom to sit in. And high energy guitar-driven Krautrock always wins here around the UMR household.

Looking for a place to start with the vast OSC catalog? Start with this one.

Ownership: 2007 Transubstans (CD)

2008; 9/8/11 (review)

Other albums I own and still need to review:  Inside Your Head (2008); Good Planets are Hard to Find (2009); Slip Into the Vortex (2010); Entering Into the Space Country (2011); Phaze Your Fears (2012) 

Other albums I used to own and didn't review: It's All About Delay (2006)

9/8/11 (new entry)

The Group - s/t. 1978 Finland

When a band decides to come up with a moniker, it makes a statement about who you are. And in this case, this collective of veterans called themselves The Group. When you go forward with a name like that, you're telling the world that you are - in fact - The Group. Perhaps in Finland, at least coming from the jazz world in the 1970s, not such a preposterous notion. For the rest of the world - huh? And in today's modern search engine heavy world, one can only regret having had a name like The Group. Or perhaps grateful that you can hide longer than others... While all the players were quite experienced by 1978, the 2 big names here are Olli Ahvenlahti and Pekka Pohjola. The former was more known in jazz circles, and Pohjola was probably the foremost name worldwide from Finland. All they needed was Jukka Tolonen at this point.

So with all this pomp and circumstance, including a cover of no less than the Great Pyramid, what bold musical proclamation does The Group make? A jazz fusion album. Imagine that? In 1978 no less? Wow. I mean who did that? Let me rephrase minus sarcasm. Who did not do that in 1978? I know, you're still thinking...

All of this to say, had the band been called Aavenpohtylathi Temppeli (it's got to be a word. I think any combination of letters work in Finnish right?), the music is all one would focus on - but a cool name helps. And the music here can best be described as classy and professional. The compositions are well thought out, highly melodic, and are not just skeletons for jams and solos. And since it's a straightforward guitar, keyboards, bass, and drums lineup, there's no annoying soprano sax or other irritants popping up from the speakers behind the plastic palm trees in the local strip mall sauna. In this respect, the album is reminiscent of Pohjola's own late 70s work, plus perhaps some of the music you've heard on those Jazz Liisa series of albums. This isn't the album to buy if looking for sick chops or a dynamic change in how one views jazz fusion. But if looking for another quality album in this space, The Group won't disappoint.

Personal collection
LP: 1978 Dig It

The original comes in a fine gatefold cover with detailed liner notes - in English actually. Which sort of indicates they'd hoped bigger things for the local boys. But one and done it was for the band known simply as... The Group.

Pop Instrumental de France (Laurent Petitgirard) - s/t. 1971 France

With a corny name like Pop Instrumental de France, one would think this was going to contain happy organ covers of 'Eleanor Rigby' and 'Paperback Writer'. But this being France in 1971, insiders know it will be something entirely different. A splendid romantic instrumental rock album, with a large palette of instruments creating different moods, atmospheres, and rhythms. Somewhere between William Sheller's Lux Aeterna, Jean Cohen-Solal's two albums, and Alain Goragues La Planete Sauvage, you'll find Laurent Petitgirard's Pop Instrumental de France. A must pick up for fans of early French progressive rock.

Personal collection
CD: 2006 Vadim

The CD on Vadim comes with great liner notes from Laurent Petitgirard, sports new artwork (second scan), and features an excellent sound.

Last listen: 2007

Master Cylinder ~ USA ~ Fort Worth, Texas

Elsewhere (1981)

Not much is known about this Fort Worth based jazz rock group (even though they're from my neck of the woods, their album wasn't exactly a staple of local jazz or rock radio). On the usually soulless Inner City label, Master Cylinder was anything but that. Their album has a strong melodic sense, and it seems the group must have been informed by the Canterbury groups like early Soft Machine or National Health, as well as the DC based Happy the Man. While ostensibly a jazz album, it's these rock elements that bring Master Cylinder to the next level. A very good album that time has forgot.

Ownership: 1981 Inner City (LP) 

Not reissued as of 2/22/25.

2008 (review); 9/30/17 (new entry)

Bloodrock - Bloodrock 3. 1971 USA

Solid workman-like blue collar hard rock album from my current hometown of Fort Worth, with grungy Hammond and heavy guitar leads. At least 4 tracks here are total winners. Only pitfalls are 'You Gotta Roll' which is their only foray - this time - into what seemed to be the mandatory boogie/good time rock-n-roll number. And 'A Certain Kind' is the type of ballad Bloodrock should have avoided altogether. CSN&Y album closer doesn't do the band any favors either. But otherwise this one is solid hard rock fare and a must for fans of the genre. These "Cats" (residents will get it) are local boys who done real good. Makes me want to go to Kincaid's Grocery on Camp Bowie, and get a cheeseburger and a real (chocolate) ice cream shake. In a Chevy Mist Green painted grocery. And I did just that today... (I really did! On the day I wrote these notes which was Nov 7, 2015. Just never added to UMR until now).

Personal collection
LP: 1971 Capitol

Last listen: November 6, 2015

Salem Mass. 1971 USA-Idaho

For such a relatively remote place like Idaho - especially in the early 1970s - it's hard to imagine that not only one, but two bonafide underground rock albums emerged. One is the archival Stone Garden, and the other did manage to get released on LP privately, and that's the one we're talking about today. In reading other reviews of this album, it's clear few are taking into account the remarkable progression this album portrays, given the circumstances from which it arrived. Comparing Salem Mass to Black Sabbath or any other major label British or American band from 1971 is comparing things as all things equal, when they had no chance to be. And yet Salem Mass is quite an accomplished record on its own accord. It is definitely heavy, with fuzz guitar galore, and also plenty of fat organ sounds. And I kind of like the raw vocals that fits the music perfectly. But the shocker here is the use of the Minimoog (don't forget the Minimoog went into production only in 1970). Where the heck did they get one of those? In Caldwell, Idaho? I mean it's one thing for ELP to break one out, but for a local hard rock band playing the outlaw cowboy beer bar scene? Are you kidding me? Just for this alone, the album should be held in high esteem among those who look for quality more thoughtful underground albums. What other underground hard rock band (non major label) used a Minimoog this early? The music is quite melodic, and definitely has a late psych era vibe, which was more common here in America during that time. This one is a must listen.

Personal collection
LP: 1999 Akarma (Italy)

This reissue comes in a fine heavy textured cover. As I stated on Discogs recently: Akarma has a checkered past, no question about it. But not this title. It was licensed directly from Gear Fab and even includes their insert! Unfortunately someone had removed the Gear Fab association without backup data and now nobody can sell the album on Discogs because of the (once) incorrect appellation (I changed it back to legal). Though to be fair, it's the label's own fault, as they had far too many questionable releases. Guilty by association I guess.

Zarathustra. 1972 Germany

There are albums that deserve their polarity in opinion. Radical cutting edge music that is likely to divide the popular vote. Or an album of questionable music ability, yet has a vibe that resonates with the downtrodden. Zarathustra is none of these things. I can't for the life of me understand the negativity this album faces. This is square-on 1971/1972 German Krautrock of the hard rock variety, and sounds very similar to many other bands of its ilk - none of which I've seen get thrown under the bus like Zarathustra has here. This is the good stuff if looking for that patented heavy guitar/organ sound and rough vocals with accented English. It all goes with the territory. If you love this album, then certainly bands like Hairy Chapter, Haze, Weed, Dies Irae, Gomorrha, Vinegar, Night Sun, and countless others will delight. It's just another great album from a great scene as far as I'm concerned.

Ownership: LP: 1989 Second Battle. Gatefold. Comes with booklet and historical liners. Acquired new upon release. My copy is #899 for reference.

1989; 9/30/17 (new entry)