Liquid Tension Experiment. 1998 USA

Liquid Tension Experiment is basically an instrumental group featuring current and future Dream Theater members. And they took active King Crimson and experienced jazz bassist Tony Levin along for the ride. Levin was doing a few of these Magna Carta collaborations back then, so guessing he was bankrolling it for eventual retirement. And the other guys were I'm sure thrilled to have such a legend among them.

Of course when you get a bunch of Dream Theater guys in a room, and they decide to eschew vocals, then you can expect one prominent feature: Wank. They have that reputation even on the DT albums, and it's absolutely fair. The trouble with wank is it's entirely unnecessary. It's a form of insecurity I think. "Look at how many notes I can play per second?" To me it's like a guitarist and keyboardist's version of the drum solo. Unless you are a budding musician learning how to play, the discerning listener is not going to be too impressed. When I first bought LTE 20 years ago, wankery was the lasting impression, and I quickly sold it off into the marketplace. Today a copy walks in the door - for about 10 cents - and hey let's give this one a serious listen since it's here.

The truth of the matter is Liquid Tension Experiment's debut is not just about instrumental show-off, but rather they did manage to write a few good tunes in the process. Which is pretty impressive considering the easy-out would have been to provide just the opposite. Perhaps Levin's influence looms large here, or the others had more to say than chromatic scale practice.

The reality is this album barely has any heavy metal at all, and is more rooted in jazz fusion and even jammy blues rock. The guitar solos - when not wanking - have an almost psychedelic feel to them.

The album could have stopped after 'Freedom of Speech', and would have scored a 4.0 in my book. The opener is excellent throughout, mixing the heavy with the melodic. 'Osmosis' sounds like an instrumental version of early 80s King Crimson - or even 80's Jade Warrior (bet you didn't see that coming!). 'Kindred Spirits' reminds me of the best of the 80's and 90's fusion albums, and again features some fine melodies.

Then they begin to run out of ideas and start to rely only on instrumental dexterity. 'Three Minute Warning' - and even the ensemble state it's self-indulgent - looks like a recipe for disaster. But it's not so bad really, especially the first 2 parts that are more like a good blues rock jam than a boring practice session. And then they lose it at the end... Pity that.

Overall much - much - better than I remembered, and well worth a concentrated listen. Should have been even better. But the insecurities got the best of them. I never did hear the second one. Maybe I'll pay double and get that one for 20 cents.

Ownership: CD: 1998 Magna Carta. Jewel case.

12/18/18 (new entry)

The Facedancers ~ USA ~ Philadelphia, Pennsylvania

The Facedancers (1972)

There really is no album like The Facedancers, an obscure progressive rock band from the Philadelphia area (locale recently confirmed from various postings on YouTube). Typical of the Paramount aesthetic, The Facedancers were an eclectic bunch, that had no real identity, though to be sure it was probably the label's most purely progressive rock act (besting the also varied Baxter album). They use harmony vocals and have a slight folky and bluesy touch to their songwriting. But most of the songs feature long and complex instrumental breaks, that sound like they came right out of the early 1970's northern European scene with flute, electric guitar, and organ. The guitarist plays in a decidedly psychedelic manner throughout. Excellent album overall.

11/29/10 (review)

Ownership: 1972 Paramount (LP)

Muddy recording would benefit greatly from a remastered reissue. Speaking of which, no legitimate reissue exists as I update this post (3/4/25)

12/28/18 (new entry)

Dionne-Bregent - Deux. 1977 Canada

One year later from the debut, Dionne et Bregent provides us with a completely different outlook on Deux, one considerably more positive. Not to mention the material is much more of a complex nature, verse the entirely atmospheric debut. The first side, broken into 7 parts, may recall for the listener other keyboard/drum progressive rock duos such as Rusticelli & Bordini, Eden (France), or Kashmir. There’s quite a bit of variation among the seven themes presented here, from quiet harpsichord passages to raging Moog solos.

The backside of Deux positions Dionne and Bregent firmly in the high energy, but melodic, fusion category – quite a ways from the dark, alien sounds of 'L’Eveil du Lieu' from the debut! Two tracks are presented here 'Campus' and 'Transit Express' (could have they known about the excellent French fusion group of the same name?). Tangerine Dream circa Force Majeure would be another reference. Plenty of great soloing (Moog, Mellotron, Clavinet, vibes, xylophone), time signature changes, and complex songwriting.

Not surprisingly, the two bonus tracks (from the 2 CD release) are, once again, very different from anything else on display. Dionne performs a 13 minute solo percussion version of a 1959 Stockhausen composition, which has an academic "serious" modern classical feel about it. The final track is the 10.5 minute 'Fil de Terre', which apparently was recorded for a soundtrack. It’s a rock based affair, not too distant from the material on 'Campus', but again there's a twist, as this is considerably darker in tone with some nice violin soloing. No date is given, but sounds a bit earlier than the 2 albums proper. The duo themselves called their music Rock-Classico-Cosmique. That’s more accurate than anything I could think of!

Sadly Michel-Georges Bregent died in 1993. Bregent has other albums, most notably with his brother Jacques in the band with their surname, but his work with Vincent Dionne is unparalleled in its creativity.

Personal collection
CD: 2006 XXI-21 Productions
LP: 1977 Capitol

The above is a 2 CD set that also includes ...Et Le Troisième Jour in its entirety + 2 bonus tracks.

Manilla Road - The Deluge. 1986 USA-Kansas

Manilla Road's peak album among a whole canon of peak albums. The ultimate epic metal performed at a time (1986) when everything was synthesized and slick-as-a-butter-dish. The Deluge is the antithesis - perhaps remedy - to all that was wrong in those misguided middle 80s. And the drumming on this album is insane, it's also like it is just off meter (a little bit) that adds to the urgency. There's an awesome moment in the middle of the lengthy title track that must be heard - incredible riff and drumming! The loss of Mark Shelton cannot be understated. He followed his own direction and made his own music. One that was pretty much ignored upon release (especially here in the US - I was one of the few here who bought it as soon as available) but many years later found his audience. Which continues to expand - and will grow for generations. He died a true warrior - after playing a concert in Germany, pounding it out at age 60 as if he was still 19. Look for the The Deluge to one day be considered a Top 5 album of the year in which it was released. It's timeless. 

Ownership: LP: 1986 Black Dragon (France). Single sleeve. Bought new at Bill's Records in Dallas.

CD: 2011 Shadow Kingdom. Jewel case with liner notes from Shelton, plenty of photos, and lyrics. No bonus tracks. Excellent supplement.

1986; 11/5/11; 12/23/18 (new entry)

Forgas Band Phenomena - L'Oreille électrique. 2018 France

The first thing one notices about L'Oreille électrique, Forgas Band Phenomena's 6th album, is just how direct it is. This is in-yer-face hard rocking progressive rock... ... via the Patrick Forgas filter. So do not fear FBP fans, the intricacies of prior albums remain, and while Forgas and new member Gerard Prevost (one with an impressive resume himself I might add) are pile driving the rhythms forward, there's still the delicate violin, trumpet, and saxophone adding what sounds like charted stage band music on top. Meanwhile guitarist Pierre Schmidt is rockin' like it's 1982, with shredding hard rock (not metal) riffs and solos everywhere. Such a juxtaposition of styles, which is what makes it work. Forgas has never been one to sit on a formula, and here he takes his jazz rock orchestra motif - and bashes it over your head. Great stuff. Forgas is now in his late 60s, and if anything, is projecting he has more energy now than ever. Bravo!

Ownership: CD: 2018 Cuneiform

12/21/18 (new entry)

Forgas Band Phenomena - Soleil 12. 2005 France

Patrick Forgas, I believe, must be some type of genius. Starting in the late 70s with the album Cocktail, Forgas was very much of his era in terms of creative songwriting and wonderful sound textures. Then after trying his hand at more pleasing commercial styled music, he disappears. 20 years after his landmark beginning he shows up with a new band in tow - now christened Forgas Band Phenomena. The latter word cannot be more underscored. Phenomena indeed. And now he is completely out of his time. For the better.

The brilliance comes from the fact that Forgas masterfully composes long suites of music, that never become boring or cliched. If I were to tell you the Forgas Band Phenomena is a jazz rock orchestra - or perhaps even a stage band - I suspect you would start running for the hills screaming NOOO THANKS all the way over. But in effect, that is what we have here. So yes, it does take a sort of genius to write a 34 minute+ song, and manage to keep ones attention throughout. Generally when I see that kind of length I expect a sequence of songs strewn together awkwardly as one. Or perhaps a high brow chamber styled music that forgets to rock out. Or even worse, lengthy instrumental solos to the point of painful, especially of the drum/percussion variety. But no, there's none of that. Sure there are solos - of course - but they are all pithy and impactful. It is progressive rock - meaning it does have heft. There's also a large palette of sounds here including violin, various saxophones, trumpet, sundry keyboards, along with the usual guitar, bass, and drums. The latter provided by band leader Forgas. In this way, Forgas is like Vander - one who never lost a vision and has total control of what that is.

Though this is a live album, it will not seem as such. The first 3 tracks are all new, though the 34 minute opus theoretically was composed for a second album in the late 70s that never materialized. I'm certain it's been much expanded here regardless. The final piece is a live rendition from their second album Extra-Lucide. Excellent album.

Ownership: CD: 2005 Cuneiform (USA)

2005; 12/21/18 (new entry)

Love Live Life (& related) ~ Japan

Kosuke Ichihara & 3L - Now Sound '75 (1975)

Now Sound '75 has the cool title, but the band name has been something of a mystery until recent times. Technically known as 市原宏祐 と 3L, the former translates to famed jazz saxophone & flutist Kosuke Ichihara, and the 3L denotes the recognizable Love Live Life. So the album really belongs to Ichihara, rather than the latter. We'll explain later...

As for the music, when I hear the term deep groove, this is exactly what the term means to me. Often times what it becomes is a catch-all term for funk, disco, or even straight out jazz. None of that here, as you'll need to put a jacket on since the music is so cool. Slow churning rhythms, with some splendid flute lines, atmospheric sax, and a smattering of fuzzy electric guitar that is always tasteful, never overbearing. Grab a tumbler, drop in some ice, pour a thimble full, close your eyes, and nod your head. Yea sure, put on a derby hat too. A couple of the tracks are of the smoky jazz variety, so much so, one gets cancer from the second hand cigarettes the vinyl puffs out of the grooves.

Ownership: 2017 HMV (LP)

Satsujin Jissho [Ten Chapters of Murder]. (1974)

I've known about Love Live Life + 1 for many years, but wasn't aware the group had a second album until recently. It's a concept album about various incidents of nefarious killings (anything from the St. Valentine's Massacre to the Holocaust). Musically the mood doesn't really fit the concept, as it's a real hodge podge of sounds. Anything from instrumental funky wah wah cop show themes, to avant garde indigenous music, to ragtime jazz is featured here. Whatever it is, it's definitely underground 1970's Japan - where anything goes! Honestly it doesn't remind me of the other LLL+1 album at all, and should be strictly considered on its own. Plenty of psychedelic guitar to keep an underground rock fan interested - but be prepared for many changes in style. 

No CD reissues for either as of 3/4/25.

9/3/10 (review)

12/21/18 (new entry)

Cain - A Pound of Flesh. 1975 USA-Minnesota

Classic private label Midwest hard rock from 1975, this time hailing from Minneapolis. Most known for its grotesque cover of human flesh pulled out of a can, this perhaps a reflection on the local Minnesota meat packing employers and the continuing labor strife issues that were particularly strained in the 70s and 80s (as documented in the movie American Dream). I’ve gone on before about these type of bands, all played for local hard working Union guys, high school flunkies, and just general no-goods and never-beens. And their girlfriends… “Yea dude, she’s a stripper over at Peek-a-Booze and loves to get wasted and rock!” Overall, Cain’s debut album is an excellent representation of mid 70s hard rock. Guitarist Lloyd Forsberg certainly holds his own, while vocalist Jiggs Lee (gotta love that name!) gives a very good high pitched blues rock performance. When Cain stretches a composition past the 4 minute mark, then even more talent is revealed. ‘Katy’, ‘Badside’, and the longest, the eight minute ‘All My Life’ shows an almost progressive like nature – closer to Styx than Yes though. Lyrically, these guys hit a smelly whiskey bar double play. Check these gems out: “She’s long and lean, she’s got the meanest streak you’ve even seen. Just a South Side Queen…”. “Well, if you you (sic) ain’t getting’ (sic) any and you’re really stuck on looks, you find yourself in the bathroom sittin’ down with the picture books, you take your situation in hand.” I couldn’t make this stuff up if I tried. The real irony is that the CD booklet, written by the band, states “(the album) originally was intended to have a very ethereal theme with a reference to William Shakespeare’s ‘The Merchant of Venice’”. Methinks the years of booze and partying created a delusional revisionist history. And about the cover? “The resulting cover was the idea of (original label) ASI Records’ marketing department run amok." A Pound of Flesh is a real party starter and a must own for hard rock hounds and anyone who appreciates the Monster (now Rockadrome) Records aesthetic. Time to go on strike and grab a bottle of Grain Belt beer, cause Cain’s playing tonight at Humpin’ Hannah’s.

Ownership: LP: 1975 ASI. Single sleeve. Recent acquisition from JL (2023). Last night's listen resulted in a +2, though I had it rated too low to begin with. Should have been +1. My first copy (purchased in 2005) was the Monster CD that made up most of the review above. I've altered it for current state mindset.

2005; 2006; 12/21/18 (new entry); 3/30/23

Staff ~ Denmark

Primerose (1984)

Here is another album from the progressive rock wasteland of 1984 to 1986. With Staff you get the same 80's era digitalitis that most bands from the time fell prey to. There's also a funky smooth jazz underpinning that is a bit disconcerting. However, the one saving grace here is the guitar work, seemingly from another era and one that carries a raw edge that I find highly appealing.

To sum up the AC's thoughts: "Similar to Matao (ed: related to Staff), this is a very focused and consistent effort, around 45 minutes of solid instrumental jazz-rock, with no real dips in quality or experiments gone awry, and at times Larsen really lets it rip with some fiery soloing... Considering the time period, it would probably have been impossible for them to live up to the lofty standards of the original, but this is really a pretty satisfying listen in its own right, and definitely worth a shot for fusion fanatics."

And I completely agree with the conclusion, this is a definite bulls-eye for fusion fans that can stomach the 80s production values.

No reissues exist as of 3/4/25. LP originals remain inexpensive.

12/21/18 (review)

Ways ~ France

Planetes (1986)

IMO, 1986 could be considered the nadir of the entire progressive rock movement. Seemed every band of the day was using cheap digital keyboard equipment, and even cheaper drum sounds. All my favorite genres of progressive rock were going down the tubes: Symphonic, electronic, and fusion. Only the avant progressive scene was alive and well during this time (Univers Zero, Art Zoyd, Present, etc...). The New Wave of British Progressive Rock movement, which seemed so promising in 1983, had already given up the 20 minute epics for common arena rock fare. There were pockets of hope, like the UK festival psych scene, though it would be a few years before most of us outside of England knew what that was. And in the field of heavy metal, many bands were experimenting with more progressive ideas and adding a dose of complexity to their angst. Fortunately, all was to change in that landmark year of 1987, when progressive rock found its roots again, and we still enjoy the fruits from that planted tree.

It is with this backdrop that Ways released their sole album. And it's no surprise the album has been completely ignored until recently. Ways, which was lead by Jean-Luc Hamonet and who we've already featured, falls prey to many of the mid 1980s pitfalls. It's digital, slick, and lacks any kind of rough edge to grab one's attention. However, given the landscape of the age, had I discovered this album at the time of release, I'm sure I would have loved it and now would treasure it for nostalgia reasons alone. It's good enough. The bar was low in 1986, and Ways jumped it with ease.

No reissues exist as of 3/4/25. The original LP remains inexpensive.

12/21/18 (review)

Missus Beastly. 1974 Germany

The evolution to a Masterpiece status is a strange phenomenon. Like many albums at first glance, Missus Beastly's second album struck me simply as better than average. As the years went by, something about the album kept drawing me to it. Not all masterpiece albums take this long of course, but this is one of those albums that gets into your skin and just won't let go. It's now to the point where the measuring stick for all things jazz rock must go up against it. Cosmic Dreams At Play says of this album "uninspired slick fusion", which could not be further from the truth. The rhythm section here is amazing, jet propelled, sporadic, and energetic. The piano playing is divine, frequently compared to McCoy Tyner's best work. The dual sax/flute combination drives the melody and solo lines and they're always in control. And the tunes are memorable long after the music has stopped as perhaps best exemplified by '20th Century Break'. A brilliant album.

Ownership: CD: 2005 Garden of Delights; LP: 1974 Nova. The CD comes with 4 bonus tracks, which demonstrates a much rawer and looser Missus Beastly, but still very engaging. Personally I find the LP cover absolutely hideous, and downright offensive. According to the CD liner notes, the band had no artistic control of this situation, and it appears to be the poor judgment of the label themselves. The cover doesn't represent the style of music at all.  Despite my objections, I ended up with the LP for a very cheap price recently (end of 2018). I'm keeping it for now, but maybe not forever. The CD, however, is in the Top 1% of my collection. That's coffin company.

3/16/13

Capitolo 6 - Frutti per Kagua. 1972 Italy

Capitolo 6 were a band originally from Viareggio, Tuscany (and later relocated to Rome) who only managed to get out this one album, and then disappeared into the mists of time - an all too well known fate of many a Italian band of the early 70s. Frutti per Kagua is generally regarded as a tier 2 or 3 album, I personally hear it differently, and consider this one of the masterpieces of the Italian progressive rock style. It is not of the effete branch that is for certain. This is from the grimy, nasty, dirty, and unwanted streets of Italy. The music is raw, with hard guitars, stuttering flute, and constant meter changes. The rough and tumble vocals are the giveaway of their provenance. So it's here one realizes the music belongs more to the school of Jumbo, Odissea, Delirium, and De De Lind. If you want all of your Italian progressive rock to fit neatly in a box that only contains PFM, Banco, and Le Orme, then run far away. This is bare knuckle progressive rock that drinks beer not wine. I can listen to this album all day.

Personal collection
CD: 2008 BMG (Japan)
CD: 1994 Mellow 
LP: 2000 Akarma

Frutti per Kagua is one of the real gems of the collecting world, where originals cost 4 figures and the first digit isn't even a 1...or a 2. In 30+ years of collecting I've rarely, if ever, seen one for sale (even though it was on It - a label of RCA). It clearly didn't sell well in its day, and even well-heeled Italian collectors do not possess one. I don't believe it was ever imported in the States like many Italian albums were (albeit limited). That is to say, I've never seen one with a Peters Intl sticker affixed. The original comes in a gatefold cover meant to be viewed vertically, and has a pouch covering the entrance area of the LP. For this reason, and others, I'm quite happy to own the Japanese mini-LP which replicates this to the finest detail.

Frutti per Kagua was one of the last of the "name" Italian albums for me to hear. Because of the almost non existence of originals, we had to patiently await for the reissue market to come to the rescue. And it finally did when Mellow reissued the album in 1994, and I bought one immediately. I replaced this as soon as the Japanese mini hit the shelves some 15 years later. In addition I did pick up the Akarma LP along the way. It comes in a thick, heavy, but standard gatefold. In the end it was superfluous to own and sold it off.

As for the cover, I don't think it's fair to use post internet modern worldly sensibilities to judge the contents. This was 1972 Italy, and as I mentioned, this is grimy music. It's meant to be real, not fantasy. In an era where we have to view disgusting things on albums like swastikas, nuns performing sex acts, goat's blood, and dismemberment - all designed to shock you - in the end that's just stupidity. This isn't that. You may want to look away, but reality hurts.

Hero. 1974 Italy

Certainly one of the more unusual entries from the Italian progressive rock scene of the early 1970s, Hero’s sole album is an enigma, yet essential purchase for fans of heavy progressive rock. Some of the oddities found here include: 1. Though based in Italy, Hero relocated to Germany to record their sole album for the Pan label (Sahara, Metropolis); 2. Going against convention for an Italian band, Hero’s lyrics are entirely in English; 3. The album didn’t see a release until 1974, two years after the actual recording and one year after the death of group founder and guitarist/bassist Massimo Pravato. Hero were a highly innovative trio, driven by aggressive electric guitar, even though played primarily in a jazzy style (similar to Osage Tribe maybe). There’s also quite a bit of organ from vocalist Robert Deller (from England and whose vocal style is somewhat reminiscent of Peter Hammill). In fact, given the entirely disorienting nature of their music, it would seem Hero may have been the forefathers of the sound championed by the modern Italian group Garden Wall. Even though the majority of the songs don’t clear the 6 minute mark, it’s extraordinary how much material is packed into each composition. Generally mislabeled as a hard rock band, Hero present one of the real rarities: An album with no obvious comparisons. The closest I can get are some of the harder German underground bands like Virus, Necronomicon, or Erlkoenig.

Ownership: LP: 1974 Pan. Single sleeve. Acquired from a friend (1999).

CD: 2006 AMS. Papersleeve gatefold with liner notes.

1999; 10/6/06 (Gnosis); 12/6/18 (new entry)

The Bevis Frond - Triptych. 1988 England

Triptych is The Bevis Frond's 3rd proper studio album not counting comps and the like. The deal with Nick Saloman is he brings forth 2 distinct types of music to most of his recordings. The first is what I'll call "straight songs". While ostensibly from the neo psych school, I've found the music to be more toward the alternative/indie/college rock sound of the 80s. The singing tends to be flat and monotone, missing out on the wonderful harmonies of the 60s. Not to mention a lack of melodies in general. The music just sort of lays there, strumming chords, and plowing through each song, each duller than the last. The other side of The Bevis Frond is the jam element. And it's here that Saloman and Co really shine. He has a real knack for providing intense solos where needed, or creating the proper Kosmiche atmosphere - with a creaky old organ no less - so as to set the table for these solos. In effect I think he's a masterful psychedelic guitarist, more of the early 70s school... ...and a very generic songwriter. I realize not everyone will agree with me here, so for those of you who have a similar disposition to mine, then the albums you want to seek out are the ones with the most instrumental impact.

And Triptych is that album. In fact I'd say the very best of his entire catalog which is quite extensive (at least of those I've heard, which is most). Tracks like 'Into the Cryptic Mist', 'Phil Exorcises the Daemons', and 'Tangerine Infringement Beak' are great examples of this. There's even one fine "straight" song this time in 'The Daily Round'.

If you're looking for the right place to start with the Frond, and your background is more of a "head" who enjoys psychedelic in the cosmic Krautrock sense of the word, then I suggest you start right here with Triptych.

Personal collection
CD: 2001 Rubric (USA)

My first copy was the original US LP on Reckless purchased upon release. But at the time I didn't appreciate the contents and moved it out rather quickly. Many years later I picked up the CD. Which is the way to go as it features 6 very good and relevant bonus tracks.

Skywalker ~ USA ~ Chicago, Illinois

High Flyer (1982)

Skywalker were a hard rock band from Chicago, and High Flyer is their sole release, and quite scarce today. Despite being from 1982, the band sound every bit like they're from the 1975-76 era. The songs are straightforward hard rockers, with excellent breaks and great guitar solos. The vocals are high pitched, and FM radio is where he wants to be heard. The real anomaly here is the keyboard of choice - the trusty Hammond B3. Not a lot of bands in the early 80s still lugging that thing around, and it's what makes the album special. And that's all they used too - no synthesizers! Even the one throwaway track 'So Hard Baby' is saved by a nice organ solo. 'Rock the Night Away' is the highlight of Side 1, with some great riffing, and by looking at the track titles and song lengths of Side 2, I was certain to have an excellent album to witness. It wasn't to be. 'Disco Queen' is a lot like the opener on Side 1, which is solid. 'Living Free' on the other hand comes dangerously close to that old chestnut 'Free Bird' at times, and the mid section which promises to unleash, never quite does. And the vocals here are strained and cringe-worthy. 'High Flyer' is another good hard rocker, but again, one wishes for a bit more steam to motor ahead with. All in all, a very good entry for hard rock genre fans. But one whose immense potential was not met on the whole.

No reissues exist as of 3/4/25

12/6/18 (review)

Hurricane Express ~ USA ~ Milwaukee, Wisconsin

Early Warning (1978)

Hurricane Express were a hard rock band from Milwaukee who released one private LP (1978 R.C.K. Records) and off into the annals of history they went. Clearly the major label talent scouts blew the call on this band, as Hurricane Express definitely were tapped into the lean and mean late 70s sound, and as the other reviewer's suggest, this is a band that should have "made it".

The album opens up inauspiciously with the dreadful cliched boogie rock of 'Rock & Roll Man'. But things pick up quickly with the fine riffs and hook lines of 'Don't Let Me Go', and it's where we begin to hear the fantastic guitar work. Other tracks of note are 'Let's Do It Up' and 'When You See Me', the latter featuring some fine extended guitar work. 'Rock Me Like a Hurricane' is the only other skip over track, but there's a title to think about, eh? Perhaps we could have a word... Scorpions? 'Frenzy' recalls the Nuge on 'Motor City Madhouse'. And speaking of the Motor City Madman himself, that gets us to the closer - and best track - 'Death Watch'. The song itself won't win any awards, but the mid section guitar solo is quite inspired. It's trance-like similar to 'Stranglehold', arguably Nugent's best moment in the sun as well.

Overall a mixed bag, but a solid entry for the genre. And with one killer lengthy cut.

No reissues as of 3/4/24

12/6/18 (review)

Ga'an - Black Equus. 2011 USA

Interesting Zeuhl styled album from Chicago. The pounding rhythms, the driving bass, chirpy keyboards, haunting organ, and overall martial style are certainly hallmarks of the genre. Lindsay Powell's vocals, however, are a bit tough to take. She doesn't sing, she doesn't chant, she doesn't hum, she doesn't recite - she just caterwauls - in whatever key she feels like. I love just about anything in the Zeuhl genre, but this one is a bit of a slog. Also, the thuddy bass-heavy production is another problem. It's very good, but somehow it seems it should be better.

Personal collection
LP: 2011 Captcha

KKB - s/t. 1974 USA (archival)

Bruce Kulick is one of those guitar players you've heard of, but can't quite remember why. He's most known for his long stint in post-makeup Kiss during the 80s and early 90s. Today you're likely to see him in a reality show, helping Kiss out somewhere, or doing the nostalgic circuit with none other than Grand Funk Railroad. Yea, he's that guy.

But before all of that, when still in his early 20's, he formed an unnamed band in 1974 (KKB was a later appellation) in his resident Queens area, with a couple of neighborhood acquaintances. They had set out to be a cross between "Cream and Yes". Well they failed on both fronts, and the latter will never enter your mind. With that out of the way, what you do get is a tightly woven hard rock album, with decent songwriting. The rhythm section is fantastic here, and Kulick lights it up with some fuzz and wah-wah. And the production is excellent for something like this. If there's a downside, it's there's not that much material here. 'Someday' is kind of throwaway, and 'You Won't Be There' is represented twice, the latter with more jamming. So you're really looking at about 26 minutes of quality music, which is a solid EP length. On the whole, an excellent archival release.

Personal collection
LP: 2015 Shadoks (Germany)

This was originally released as a private CD in 2008 (under the title 1974), and flew completely under everyone's radar. Shadoks got wind of it, and released it on vinyl in their usual deluxe style. The LP is a thick single sleeve cover, with an insert filled with liner notes. And as an all-time first (for Shadoks) - it's cheaper than the CD!

Fourth Sensation ~ Italy

Fourth Sensation (1970)

Fourth Sensation were a mysterious Italian group from the late 60s (who apparently were related to The Pleasure Machine), and who released this one sole album. Overall it's a somewhat typical instrumental psych/blues/jazz rock hybrid. Roller rink organ dominates, and this sound is combined with half Les Paul era non-distorted electric leads... and half way-out psychedelic fuzz guitar. This is precisely the kind of music that would be used in those party sequence shots of an old Streets of San Francisco episode. All good fun, though nothing extraordinary like Braen's Machine Underground, or even Blue Phantom, both recording under similar auspices in Italy during this time. Ties closest musically to The Psycheground Group or The Underground Set I'd submit.

Originals will likely cost one a four digit sum. In 2017 a legit LP reissue came out on Cinedelic. No CD reissues exist as I update this post (3/6/25).

11/1/10 (review); 11/30/18 (new entry)

Scram ~ USA ~ Ohio

Scram (1980)

Scram were a band from Springfield, Ohio that represented the second incarnation of Lodestar, a fine group who had put out one solid hard rock album in 1977. Leaving behind Lodestar's fraternal rhythm section - and later one of the lead guitarists - Scram were very much of their era in terms of hard rock with commercial ambition. They clearly weren't tuned into the metal underground as this was music to get a record deal and regular steady gigs at various regional clubs. Mostly held back by the tendency to fall into the AOR tropes of the day, they still had a few good hard rockers in 'Street Rat Shuffle', 'Patchwork Blue', and the opening title track. They don't really let loose until the last two minutes of 'Mirror Minds', by which time most have tuned out. Worth hearing for genre fans though.

Reissued on CD by Retrospect (2009)

11/30/18 (review)

2018 Journal #7: Michel Madore, Bayete, Cesar Ascarrunz, AnVision

Michel Madore - La Chambre Nuptiale. 1978 Canada

Instrumental electronic album. A bit static on the whole. Never been reissued.

Bayete - Worlds Around the Sun. 1972 USA

Bayete, Todd Cochran by any other name, is a highly praised jazz release, but I don't hear anything overly special myself. It's... jazz. Good but nothing more.

Cesar Ascarrunz - Cesar 830. 1975 Bolivia

Has a couple of great songs, along the lines of Santana ('See Saw Affair' and 'Gotta Get Away'), but mostly this is fairly typical of the region. I had such high hopes for this title originally.

Anvision - Astralphase. 2012 Poland

Despite purporting the album to be more progressive rock oriented, along the lines of Eloy, this album proved to be somewhat generic prog metal. It's good though.

2018 Journal #3: Egberto Gismonti, Larry Young, Anders Johansson / Jens Johansson / Allan Holdsworth, Tauk

Egberto Gismonti - Corações Futuristas. 1976 Brazil

Fine world fusion effort. Need more time with it.

Personal collection - CD: 2012 Bomba (Japan)

Larry Young - Contrasts. 1967 USA

A good organ jazz effort from Young, but a long way from his underground 70s jazz rock albums/work.

Personal collection: CD: 2014 Blue Note (Japan)

Anders Johansson / Jens Johansson / Allan Holdsworth - Heavy Machinery. 1996 Sweden / England

Typical mid 90s heavy fusion. All chops and no songs. It's good but not essential for my tastes.

Tauk - Sir Nebula. 2016 USA

I thought this was simply fantastic. I've read this band labeled as a "jam band", but I hear so much more than that. Nice mix of melodic jazz fusion and heavy jams. Need to get more notes down.

Personal collection - CD: 2016 private

Shotgun LTD. ~ USA ~ Los Angeles, California

---10/20/15

Los Angeles based Shotgun LTD are one of those groups I passed over dozens of times in my crate digging years of the 80s and 90s. That looks to have been a mistake. Even though it's not a masterpiece, it's a fine example of North American hard rock, with blues and even a slight rural underpinning. The three track sequence on the first side starting with 'Against the Wall' is simply fantastic, and there's more than a nod to the Hammond organ / electric guitar based proto-prog sound here. Hard to imagine anyone who enjoys the latter genre not being impressed with 'Number Two'. After this, the album's momentum begins to slow some, and by side 2 there are couple of country rockers to endure with 'River of Hope' and 'Feelin' Bad'. All in all though, a fine discovery after all these years. Would make for a nice reissue, perhaps with some relevant bonus tracks to kick it up a notch.

---4/29/22

+1 listen! Hilarious cover too, as the band and their presumed pregnant girlfriends are gearing up for a "shotgun wedding".

Not reissued as of 3/30/25.

Ownership: 1971 Prophesy (LP)

10/20/15 (review); 11/28/18 (new entry); 4/29/22 (update)

Quasar Light ~ USA ~ Pennsylvania

Experience This (1981)

Quasar Light were from Red Lion, Pennsylvania, which sits in the southeast part of the state, in and around Amish country. This isolation in the middle of farm country may explain a few things, as these guys were tapped into something that has yet to be followed up with anywhere else.

One of the absolute funniest reviews I've ever read concisely stated the following: WTF is.... this?  That got a belly laugh out of me. How many times have I felt exactly like that? Who knows, but no album I've heard qualifies that expression more than Quasar Light.

WTF is this indeed. I don't even know where to begin. Umm... yea, it's exactly like... OK wait. You can compare them to... No...  but.... yea, that.

The first four songs on the album sound like some kind of alien pop with nimble hard rock guitar picking and disembodied female vocals. There is no mistaking its 1980's heritage here. 'Don't Ever Leave Me' seems to be heading down a somewhat normal path, to the point of discouragement. Starting with 'Secret of  the Stars', Quasar Light begins to go completely off the rails. This sounds like a off-kilter version of this list. Then Side 2 all bets are off. They were in their own world. Not that it's avant noise or anything so overt as that. No, they're still going strong with actual composed songs. But they're strange, twisted, distorted, and downright complex at times. It's progressive rock from the 6th dimension. There is absolutely no reference here. Based on their location, one begins to wonder if they're Amish on a Rumspringa binge. The only reference I could find on this album was a stream of consciousness rant from the Quasar Light founder. Yea, a surprise that. Underground America at its weirdest right here. A must.

Ownership: 1981 Jet Eye Records (LP) 

Not reissued as of 2/26/25.

7/20/11 (review); 11/23/18 (update / new entry)

Innervisions ~ USA ~ New Jersey

Beginnings End (1977)

---6/22/15

Innervisions were an eight piece horn rock band from New Jersey and perhaps the most surprising aspect of this release is the recording date. This kind of record was waaaaaaaaaaaay past its shelf life in 1977. It sounds more like 1970 era Lighthouse than anything coming around this late. But it's still mixed with that wonderful and aggressive Terry Kath-like raw guitar and a few complex horn charts. The pop is really a bit too saccharine to highly recommend to progressive and underground rock fans, though it is a pleasant listen if in the right frame of mind. And honestly being the sentimentalist I tend to be, I find myself attracted to music such as this. Overall a strange anachronistic album with a very cool private looking cover.

---10/11/22

In hearing this album again last night, I enjoyed a +1 listen due to my increasing enjoyment from that particular era of sentimental pop. But I still have to shake my head on just how out of time this album really is. No one was doing music like this in 1977, especially here in the States.

Ownership: 1977 Visions Ltd. (LP). Lyric insert. Great cover as noted above. The pressing, however, is atrocious. Makes the Soviet label Melodiya seem like Mobile Fidelity Sound Lab by comparison. All copies (apparently) have dimples, and mine has the added bonus of a stress lift on the last two tracks of side 2. Would have been nice had the seller pointed that out. Its impact is no worse than the rest of the album where occasional ticks and pops are the norm. This is an album that would benefit greatly from any kind of master tape quality reissue. Also worth noting is that that the labels and the back cover are reversed. For whatever reason, Discogs insists the back cover is right. But Side 2 is Side 1 if scoring at home.

No reissues as of 3/30/25.

6/22/15 (review); 11/23/18 (new entry); 10/11/22 (update)

Soular System ~ France

Birth of Paradise (1976)

Soular System's sole album was a mystery for years, but recent data has come to light. The only name associated with it prior was James Bolden (or Buddy Bolden), who was supposedly Canadian. Bzzt! Turns out Bolden was one of many alias' for a Jacques Pépino, mostly recognized as David Christie - a French pop singer most known for some early 80s hits. He wouldn't be the first pop star to release an all electronic album, as he obviously had other dimensions of his muse to explore. Also it had been reported in the past the album was from 1971, but once again that is false. All signals point to a 1976 release, which is exactly the era that the album sounds like it's from. A little Zanov, a little Ashra, a little Klaus Schulze.  Some psychedelic guitar on Side 2 adds much needed variety to the otherwise purely keyboard driven album. Overall, I am reminded of Didier Paquette or Alain Renaud's first album. A good one.

Even the timings on the original vinyl are jacked - as it turns out that both sides of the LP run between 16 and 16 and half minutes, not 17 and 12 as recorded on the label itself.

10/3/10 (first listen); 11/23/18 (review / new entry)

Spell ~ USA ~ Jacksonville, Florida

Time Waves (1979)

Spell is the duo of synthesist's Jack Tamul and Joe Deihl, both based in Jacksonville, Florida. They do a fine job at emulating the Berlin School style of electronics, especially within the cosmic atmosphere category, perhaps a bit like fellow Americans: Earthstar. Though there is little in the way of sequencing... unfortunately. Quite a bit of acoustic piano adds a warm touch, though it pushes the contents towards the New Age scene at times.

Not reissued as of 2/24/25.

3/12/11; 11/23/18 (review)

The Mesmerizing Eye ~ USA

Psychedelia - A Musical Light Show (1967)

The Mesmerizing Eye's sole album is a short affair made up of 23 minutes of psychedelic incidental music. It appears the entire album consists only of the "weird" parts from Friendsound, Fifty Foot Hose, Silver Apples, etc... I'm sure you can gather this is an exploitation album. One that was likely sold at the cash register of K-Mart's back in the 1960s - a good starter album for the middle-class, bored white couple set, about to embark on their first neighborhood swinger party...

11/23/18 (update / new entry)

Node. 1995 England

Before AirSculpture, Radio Massacre International, Under The Dome, and Redshift, there was Node - the group primarily given credit for kicking off the entire retro-Tangerine Dream movement in the UK. As with most pioneers, I don’t think they were as cognizant of recreating a style as they were compiling a vast array of influences and then proceeding to move them forward in an exciting way. As such, this isn’t nearly the dead-on Rubycon meets Timewind sound the others have striven so hard to emulate. A full four member group with Modular Moog, Ring Modulated trumpet, "The Putney", and "Interactive Phase Synthesizer", Node engage in all sorts of random possibilities that the style affords. Radical, groundbreaking, richly produced, rhythmically interesting, and brilliant.

Ownership: CD: 1995 Deviant

11/19/18 (new entry)

La Confrerie des Fous ~ France

La Confrerie des Fous (1978)

La Confrerie des Fous' sole album is a fine example of the kind of electric progressive folk typically found on the high quality Ballon Noir label (especially Ripaille, Emmanuelle Parrenin (who is also a member here)). A very interesting album that really gains steam on Side 2. It can be still a bit too much silly fous/fou here, but when they get down to the music, it's quite good.

Former ownership: 1978 Ballon Noir (LP)

No reissues exists as of 2/23/25

8/5/10 (review); 11/16/18 (update / new entry)

Cannabis India - SWF Session 1973. Germany

When you come from Germany, and you moniker your band Cannabis India, one expects a Kosmische Krautrock freakout along the lines of Yatha Sidhra or Cosmic Circus Music. Nope. The misnamed Cannabis India is an archival release of a German keyboard trio who play in the classical progressive rock space. Somewhere between Trikolon, Sixty-Nine, and first album ELP is where you'll spot their sound. Not highly original, but quite spirited, so worth a few listens. The real revelation here are the two tracks from the followup group Universe. At this point, they propel their ELP worship into a new found love for Yes, especially considering the Squire-ish bass work. Here the band strangely sound entirely American - miles from the typical Germanic Pink Floyd styled symph rock that dominated the middle 70s. One hopes more recordings emerge from this era of Universe, as that would be an auto buy for certain.

Francesco Cabiati ~ Italy

Mirage (1979)

Francesco Cabiati's sole album Mirage is mostly a primitive synthesizer affair with some rock trimmings. Comparisons to like minded artists such as Francesco Buccheri and Baffo Banfi would not be out of place. The synthesizers of choice were modern for the day, but sound fairly thin to modern ears I'm afraid, with the exception of the odd Moog solo. I find music like this charming and exploratory, though not necessarily mandatory. Worth seeking out for a listen or two, and those who specialize in 70s primitive electronics will enjoy it even that much more.

No CD reissues as of 2/23/25.

10/14/10 (review); 11/16/18 (update / new entry)

Kanguru - s/t. 1981 Germany

Kanguru is a band formed from the ashes of other German jazz fusion bands of the time, including the group To Be. The latter offering a guidepost to the sound you can expect from Kanguru, especially considering the late 70s Santana influence. There are some excellent guitar fronted instrumentals here, most notably 'Titti Fritti' and 'Ein schönes Haus im Grünen'. 'Atlantique' sounds lifted right off of Santana's Amigos album. The album starts strong, but the latter half of side 1 is silly and somewhat tedious. Overall a varied album with a few nuggets, but perhaps not enough to sustain interest over time.

LP: 1981 Pingo

The original LP appears to be easier to find now than even when I sold it many years ago. There's also a CD on Spalax (France) if interested.

Elmira ~ Denmark

Lady of the Mountain (1973-1976 / 2001)

Elmira's sole release is the archival Lady of the Mountain and is "recorded live at rehearsals between 1973 and 1976". Similar to the Polyfeen on the same label, it's basically a bootleg audio quality album, but musically interesting all the same. Long tracks with plenty of space given to Hammond organ and guitar solos. Downer vocals remind me of Procol Harum. Certainly not in vogue with the era, and sounds every bit like music one would hear in 1970. Worth a couple of listens, but not essential.

11/16/18 (review / new entry)

Robin Runge ~ USA ~ Texas

Don't  Give Up the Ship (1977)

Here's Runge's second, and better album. Though his name is Robin Runge, the male/female duo on this album is known as Robin. The album was recorded and released in 1977 on the DIY Century. The album overall is primarily an acoustic, but sophisticated folk rock work, with plenty of synthesizer to add color. The guitar playing is clearly inspired by Steve Howe and the vocals have a pleasant lilt like Jon Anderson. Could have been a song based Yes album from the same time period (1977-78), with overt Christian, rather than Eastern religious / mystic based lyrics. A good progressive folk album from an unlikely source.

Former ownership: 1977 Century (LP)

1/19/12 (review); 11/16/18 (update)

Don't Give Up the Ship (1974)

Apparently Mr. Runge decided to skip his Creative Writing class or he really, really doesn't want you to give up on the ship (though perhaps a recent Italian captain would have benefited from such sound advice). Regardless of the motivation, these two distinct albums caused quite a bit of confusion for this author anyway.

The 1974 album is considerably more raw and amateurish than the follow-up as might be expected from a one man band - though there still is plenty of keyboards, including a cool mellotron blast to open the album, which continues on through most of the track. Of interest to DFW readers - one track is recorded live at Six Flags over Texas in Arlington.

Former ownership: 1974 QCA (LP)

1/19/12 (review)

No reissues exist as I update this post (3/7/25)

11/16/18 (new entry)

Uludag ~ Germany

Mau Mau (1988)

Uludag's sole album consists of 2 side long tracks that crosses various Asian styled music with that of avant prog. The album is entirely instrumental and unlike anything else I've heard. One can tell quite a bit of thought went into this, and the music is intricately composed. Groundbreaking on the whole, though not necessarily that enjoyable, once the novelty of the sound wears off.

Former ownership: 1988 Review (LP)

As of 2/23/25, the album remains without a reissue of any kind.

3/13/12 (review); 11/16/18 (update / new entry)

Junipher Greene - Friendship. 1971 Norway

Junipher Greene asks of the listener: "Try to understand, we think you can". This is how Friendship blasts out of the gates, and it doesn't stop that momentum to the last note some one hour plus later. With lethal fuzz guitar, stuttering flute, impassioned vocals, and a hyper rhythm section, Friendship is one of the gems of the Continental European progressive rock scene of the early 70s. Isolated in faraway Norway - especially for the era - it's an extraordinary 2 LP release, and is arguably the Nordic country's first progressive rock album. And quite possibly the very best too until modern times.

You'll often read that due to the length of the album, there are weak tracks or filler throughout. I just cannot agree, and do not hear what those tracks might be. Well, OK, 'Attila's Belly-Dance' is a bit silly, but at 39 seconds I think we can survive that. The worst song here, in my estimation, is 'Witches' Daughter', and after a molten guitar lead mid section, it just merely falls to excellent verse sublime. The stretch from 'Music for Our Children' through 'Magical Garden' is absolutely divine, each one diverse, but still energetic and highly melodic. Then comes the album's one-two punch. 'Maurice' is at the very top of what I call "flute groovers". The listener is mesmerized as one great melody after another is introduced while maintaining a head bobbing and ever changing rhythm. A masterpiece, only to be followed (after silly bit as mentioned above) by the brilliant 'Prelude: Take the Road Across the Bridge', with its killer Hammond/guitar combo. Interesting to note that Freddy Dahl covered this track later with his next vehicle Saluki, a decidedly more jazz and funk oriented band, and yet it remains a 5 star classic there as well. All this leads to the multi-part "side 4" title suite, which recalls the run of tracks starting with 'Music for Our Children'. In conclusion, Friendship is one of the all-time greats and is not to be missed.

Ownership: LP: 1971 Sonet. 2xLP gatefold. Online acquisition (2022) from a dealer in Norway. 

CD: 1989 Sonet. Standard jewel case release and was my first exposure to the album (1995). 

1995; 3/7/10; 11/9/18 (new entry)

Julian's Treatment - A Time Before This. 1970 England

Julian Jay Savarin is something of an enlightened individual. He is a writer and a musician, and was very much a member of the London avant garde of the late 60s, even though he was only a teenager at the time. Mostly known for his science fiction novels, he decided to cobble a group of fellow minded individuals to put words to music. Taking in the music of the day, and given his predilection for creativity, it comes as no surprise Savarin embraced the oncoming progressive rock movement. In addition to his Hammond organ, the band featured the usual guitar, bass, and drums backup. The two key sound elements that distinguish his new band were the addition of flute (the sole reason he chose Del Watkins as his guitarist was because he could double up on flute), and most importantly the vocals of Australian Cathy Pruden. Apparently, along with her distinctive voice, she was just as striking looking (there are scant pictures of her, but what one can find she does add a couple of degrees to the room), and was considered the perfect front person for the band. And she was quite "active" on the stage as well. According to those who saw them live, the concert left many a male in a cold sweat afterward.

I consider A Time Before This one of the cornerstone albums of my Post psychedelic, proto progressive with female vocals list. What does that mean really? Basically their sound borrows from the late 60s psychedelic movement of Jefferson Airplane et al, and takes the idea a few steps further in the creativity department. Every track here is excellent, but highlights include 'The Black Tower', 'The Terran', and the lengthy closing title track. Essential listening.

Much is made of the difference between the UK and US releases, given the former is a double LP. I don't agree that it's that jarring. The UK version is 52 minutes, which is quite short for a double. The American release is 42 minutes. Where did the 10 minutes ago? Trimming, shaving, and editing. I think they did a masterful job at capturing the essence of the recording, and I was hard pressed to notice the difference on a back to back listen of both versions. Of course, I highly suggest one hears it as originally presented first, which is easy to do today given the numerous CD and LP reissues. But don't toss your Decca LP out either, if already in possession.

Personal collection
LP: 1970 Decca (USA)
CD: 1990 See For Miles

One of the very rare cases where the US cover (scan 2) supersedes the original (scan 1) in terms of artwork. The album also comes in a nice uni-pak designed cover. UK originals are a fortune. But as noted in the review section, it's easy to obtain now via reissue. The first CD to market was the See For Miles version (scan 3), and I snapped it up immediately, and I was already in possession of the Decca LP (which I scored in the late 1980s). In addition to A Time Before This - in its entirety - you also get most of Julian Jay Savarin's followup album Waiters on the Dance, excepting one lengthy track (which is fantastic, so you'll want to obtain this album on its own eventually).

Mario Millo - Epic III. 1979 Australia

Mario Millo's first true solo album, Epic III, is largely a continuation of where he'd left off with his previous endeavors, namely Sebastian Hardie and Windchase. Like with most solo albums of the 70s and 80s, Millo goes boldly forth with a selection of assorted styles and genres, to explore various aspects of his muse.

Depending on the format in which you first hear this album, you probably will come away with a different impression. In my estimation, listening to it in the order as presented on the original LP is preferable. The Musea CD however "front loads" what would appear to be the ear grabbing prog epic as it were, that of the title track. It's either that, or they were trying to mask the album's true opener 'Life in Our Hands'. For anyone who enjoyed Sebastian Hardie or Windchase, 'Life in Our Hands' is not an egregious opener, but rather one direction Millo has always pursued. As I wrote in my Four Moments notes, Millo is a true romantic at heart, so it comes as no surprise to hear an AOR styled number opening the album. But this is Millo after all, and so it's definitely "proggy AOR". Had this been heard by record executives in America in 1979 - and most assuredly it was not - then I could see it obtaining well earned radio play at the time. 'Mary's Theme' is yet another Millo avenue - that of jazz fusion. It's a fine instrumental, calling out his Camel influence, but I also hear Nova in this track (minus the sax). 'Quest Theme' is a different pursuit, more classically influenced with acoustic guitar and flute, but not folky at all, and is a style one might hear in late 70s Spain for example. 'Harlequin and Columbine', however, is best skipped over. Sounding like a Broadway play interlude, it's the kind of music one would hear in the dead-zone mid hour of a 70s variety show like the Carol Burnett Show. Cornball and a waste of time really. 'Castaway' gets things back on the rails, and is yet another departure for Millo. This is the only true solo track, yet Millo plays many instruments including drums. To my ears it sounds like what the French were doing in this era - a type of funky jazz electronic prog - something akin to Georges Grunblatt or Patrick Vian perhaps. 'Sogno d'Amore' brings back the lineup of 'Mary's Theme' and is similarly very good.

That gets us to the album's closer (or opener haha), the lengthy title track. To me, it's as if Millo consolidated all the ideas of the above tracks into a multi-part suite. This is why I feel it's more effective as a closer. That is to say it works best as a summary rather than as a table of contents.

The CD includes an additional track 'Rebecca' (sister of Rosanna per chance? See Four Moments...), and is yet another fine song in the Windchase tradition. Overall... an excellent album.

Ownership: LP: 1979 Polydor. Gatefold. Online acquisition (2014). This replaced the Musea CD which was my fist copy (2000).

2000; 11/9/18 (new entry)

Pizzicato Five - Playboy & Playgirl. 1999 Japan

1999 was our very own Fin de siècle. It was a time of irrational optimism, buoyed by disposable incomes, crazy hopes, utopian dreams, and... lots of parties - celebrating... something. Anything.

Playboy and Playgirl is the soundtrack to that place and time. It's a mashup of the Y2K/Dot Com software craze; The ever intriguing Japanese fascination with Western culture; And the recognition of a one Burt Bacharach, arguably the most sophisticated pop songwriter of our time.

And perhaps the icing on the cake - and believe me Pizzicato Five can only be described as icing - the whole album is sung in Japanese. What? Except the title track where our key female protagonist dogmatically states over and over PRAYBROY PRAYGRR - do dadoodoo do - PRAYBROY PRAYGRR.

It appears everyone takes away a different favorite from here. My two are 'La Règle du Jeu' and 'The Great Invitations'. But every track here is very good to excellent.

Pizzicato Five, on Playboy & Playgirl, was about immortalizing Swinging London and Carnaby Street. Images of Jean Shrimpton and Bond. James Bond. Shaken not stirred. And yet the album perfectly represents a time exactly 30 years later. Good memories.

Ownership: CD: 1999 Matador. The CD is housed in an excellent tri-fold digipak, with plenty of fun photos of our duo acting-out in a late 60s English way. Online acquisition (2004)

12//04; 11/9/18 (new entry)