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. 1972 USA-Pennsylvania

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.

Ownership: LP: 1972 Paramount

Muddy recording would benefit greatly from a remastered reissue. Speaking of which, no legitimate reissue exists as I update this post (8/22/24)

11/29/10 (review); 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)

Kosuke Ichihara & 3L (Love Live Life) - Now Sound '75. 1975 Japan

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.

Personal collection
LP: 2017 HMV

The reissue is clearly sourced from clean vinyl, but of course is legit and sounds great. No CD yet, which would be the perfect medium for an album such as this. Adding to my CD Reissue Priority 2 Wish List.

This entry came from the last batch that The AC sent us back in early 2015. So it's nice that at least an LP reissue as surfaced since then. His original notes: "The common misconception of Kosuke Ichihara's group seems to be that Love Live Life were a regular, comprehensive band in the Japanese rock scene, a la Flower Travellin' Band and the like, but that's not really the case. Ichihara came from a jazz background, and even the seminal "Love Will Make A Better You" was really more along the lines of the typical "band leader and revolving cast of studio hired guns" scenario that for the most part dominated the output of Japan's New Rock explosion. So it should come as no surprise then that their trail afterwards becomes more diverse and obscure. Most well known in the west is obviously the quirky "Satsujin Jissho", but around the same time there were also entertainingly silly exploitation cash-ins like "Rock In Bacharach", "Rock In X'Mas" and other less notable studio sessions and collaborations. But perhaps the most interesting of this little known latter-day output is "Now Sound '75", an attempt to cross traditional Japanese "minyou" folk songs with the then-rising genre of jazz-rock fusion. This concept had already been done umpteen times by this point in other styles, some of which have been covered on this very blog (Toshio Tanioka, Dosojin, etc.). However, as the title indicates, the difference here is that the "sound"  was very "now", as in funky mid 70s instrumental fusion. The traditional themes are woven in smoothly to create atmosphere in a well-produced set of tunes that would have made a good soundtrack for a classic Japanese cop/detective show. Oddly enough, I'm also reminded a bit of the contemporaneous French fusion sound. Smooth and funky, but with enough atmosphere and instrumental acumen to hold your interest. Recommended to fusion fans, and I'd wager it would also go down a storm with the rare groove crowd. Unfortunately, one of their harder titles to find."

I have to agree with the French comparison as well - very much in line with that mid 70s rock-jazz sound coming from there during the era.

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 - Primerose. 1984 Denmark

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.

Ways - Planetes. 1986 France

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.

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 - High Flyer. 1982 USA

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.

Hasn't been reissued legit on LP or CD as I enter this review.

Hurricane Express - Early Warning. 1978 USA

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 hooklines 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.

Not been reissued on LP or CD as I write this.

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

Dschinn Fizz - There is a Playne Difference. 1981 Germany

When I was first introduced to Dschinn Fizz years ago, I was informed that they were a killer progressive psychedelic band (those terms again...) not to be missed. Huh? Of course when one has a mindset going in, and that expectation isn't met, it's rare the album will resonate in a positive way. And it didn't, though I do recall thinking it was pretty good for some other reason, but couldn't recollect why. As I often do, I revisit albums no matter what. This time I went in without a preconceived notion of what the music is supposed to sound like. I was hooked on the first notes! 

So what is a Dschinn Fizz anyway? Dschinn (the band) is one of those infamous rare Krautrock-but-not-really bands from the early 70s with a cool cover of a Dali painting. To me it was always something of a disappointing hard rock album (I revisited this title as well and now conclude it's a good hard rock album). This band has no relation to that one, but curious of such a strange name. Google Translate informs us that Dschinn means Genie, and that Fizz means... Fizz. Genie Fizz. (shrug). Well then, that clears it up for me...

Back to the music. What becomes apparent rather quickly is that Dschinn Fizz are great songwriters. It has those hooks that should have made them stars. But a small label pressing in Germany is not likely to have gotten them noticed where they needed to be most: North America. Because Dschinn Fizz have the sound of Saga, Kansas, Rush, and yes, even fellow countrymen the Scorpions. There are no keyboards or violin here however, so the dual guitars carry the melody and solo lines. And the timing of 1981 was still good, as Saga for example were peaking at this stage. So that gives you an idea of the genre here. But Dschinn Fizz are not plagiarists, and one is immediately immersed with the fantastic opener 'Long Road'. 'Escaped' finds the band perhaps trying too hard for a radio hit, but the mid section instrumental is fantastic. It cannot be stressed enough how melodic these guys are. And the English vocals are strong with little to no accent, usually the Achilles Heel of German bands at the time. 'Don't Look Back' is the low point of the album, but again saved by a strong middle. Then the album really takes off. 'Spanish Fly' is a Rush-like instrumental very much in tune with their Hemispheres through Moving Pictures stage. All of Side 2 is fantastic, and here Dschinn Fizz bring forth a stronger progressive rock element. And some killer hard rock riffing on 'Old Man'. 'Chasing a Dream' would have been just that in 1981: A dream. So they close on a high, always a hallmark of a great album.

If you come here looking for the next progressive rock classic, you won't be impressed. But if looking for that peculiar breed of North American "proggy AOR", then this album moves to the top of class.

Ownership: LP: 1981 Aircraft. Single sleeve. Recent online acquisition (2018).

No reissues exist (as of 8/4/24), though as mentioned, new LPs of originals can still be had for a reasonable price.

10/5/10 (first listen); 11/30/18 (review/new entry)

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!

Scram - s/t. 1980 USA

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 2 minutes of 'Mirror Minds', by which time most have tuned out. Worth hearing for genre fans though.

No reissues exist.

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

Cruciferius - A Nice Way of Life. 1970 France

Like a lot of people, I was drawn to this title due to the Magma connection, in particular one Bernard Paganotti. I had a chance to hear this album in the late 80s, and it didn't sound anything like Magma. Therefore it isn't any good! What? Ah, the impetuousness of youth! Recently I had the opportunity to hear the album in full for the first time objectively. And what you find is a band with similar influences to Magma at this time. A mix of jazz, pop, and psych exploring the boundaries of rock during this era. It's not a common sound for France, though one can find similarities in groups such as Alice, Eden Rose, Frantz, Iris,and yes, even Magma's sprawling 2LP double set. And their side group Univeria Zekt. So while not a jaw dropper, it's a fine historical piece well worth a CD reissue, especially if some relevant bonus tracks can be found.

Man Made - s/t. 1971 Canada

I first ran into this title by way of Marquee magazine's (Japan) expose on rare Canadian progressive rock way back in 1990 or so (I still have the issue). My friend from Tokyo translated the review, and quite frankly it didn't sound all that great. For years I'd see the name pop up, but usually without much fanfare or recommendation. All the same, I was most curious about the side long track that opens the album.

And that side long namesake track is definitely the highlight. The first half is slow blues coupled with atmospheric space rock. The Hammond organ in particular is quite good. About halfway, there's a really cool jazz rock break, and this is followed by some fine flute work. Odd in that no flute is credited anywhere. There are "horns", but I've never heard anyone call a flute a horn. If the whole album were like this, no doubt its reputation would be stellar. Side 2 is very disappointing, and is typical 1970 era North American styled straight rock with blues, gospel, country, and boogie undertones. 'Keep on Moving' is energetic at least, with a semi interesting compositional model, but otherwise the remainder is a complete snoozer.

Despite the music, kudos goes to the artwork - most certainly as representative of the traditional male mindset as one will ever find.

Quasar Light - Experience This. 1981 USA-Pennsylvania

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: LP: 1981 Jet Eye Records. Single sleeve

Not reissued as of 11/28/24.

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

Spell - Time Waves. 1979 USA

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.

Continuum - End of Line. 1984 USA

Continuum is a heavy fusion band from Chicago featuring John Redfield on keyboards, Robert Baglione on guitar, and Robert Allen on bass with various drummers/percussionists, most prominently Randy Harrah. The albums starts off a bit disconcerting on the title track with slap bass, disco beats, and cheesy synthesizers. But Baglione gets the psychedelic tinged guitar going thus adding a much needed edge to the proceedings. The jazz sequences featuring piano also light it up. Has some of the most insane guitar runs I've ever heard - imagine somewhere between late 70s Al Di Meola (technique) and early 70s John McLaughlin (tone/style). You're going to want to get your air guitar out for this one! There's way more meat on its bones than most 1980s era fusion albums. Not quite as angular as the Inserts' Out of the Box for example, but we're talking that kind of aggressiveness. A very welcome development and a window to what the 1980s could have been.

Personal collection
LP: 1984 Schmizz

There does exist a homemade CD-R taken from vinyl, mastered, and burned from a computer (completely legit). I confirmed this with Robert Baglione myself (and who I bought this LP from). Here's hoping for a more proper CD reissue though!

Last listen: June 6, 2015

The Mesmerizing Eye - Psychedelia - A Musical Light Show. 1967 USA

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...

La Confrerie des Fous. 1978 France

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.

Ownership: LP: 1978 Ballon Noir.

January 2020: Sold LP

No reissues exists as of 6/19/24

8/5/10; 11/23/18 (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)

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.

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 - Lady of the Mountain. 1973-1976 Denmark

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.

Only an LP issue exists (2001 Orpheus)