Black Sun Ensemble - Sky Pilot. 1999 USA

The 22+ minute title track is the only composition here that is representative of the name Sky Pilot, and that which was recorded in 1999. It's a fine piece, somewhat rambling, but still with that distinct desert neo-psych sound that Black Sun Ensemble are famous for. There's an enormous amount of clarinet on this piece, and that's an instrument I consider entirely unpsychedelic, and somewhat ruins the mood. Gives it a middle eastern restaurant buffet feel - with belly dancers roaming about. Overall it's good, but inessential. Apparently main man Jesus Acedo was on the mend at this point, and this was where his mind was at the time.

The next track, the 4 minute 'Staying Power' is apparently a single released in 1994, though I cannot find physical evidence such a thing exists. The style here hearkens back to their late 80s Lambent Flame days. Sort of an indie psych sound, one that I'm not too fond of.

So at this point, I'm figuring this one is going straight to the sell bin. All that's left is about 46 minutes of "bonus tracks". Well, that's weird from the get, but let's see what we have here.

Oh.... wow. If you ever wanted to hear the mid 80s Black Sun Ensemble "go for it", then here's your album. The deal here is this album was slated for release in 1994 as Psycho Master El, and the band name at this point was Black Sun Legion. Apparently this was one of those "the devil made me do it" albums, and Jesus Acedo - who was completely off his rocker by this point - destroyed all evidence of the recording as he was seeking enlightenment and atonement. Or he thought he did. It was released officially, but according to later notes, it wasn't properly mixed (and the vocals were removed if I understand correctly). So 5 years later, 12 of the 15 songs appear here, but this time they have the appropriate sound. I haven't heard the Black Sun Legion CD, so I cannot say myself.

What we have here is 12 seriously molten instrumental psychedelic tracks, that feature Acedo's distinct desert styled electric guitar, but this time with a ferocious violent intensity. With track names like 'Dangerous Pussy', 'Lord of the Fleas', and 'Children Look Like Burnt Paper' (whoa, that's f'ed up right there), you know Acedo is in a special place, deep - deep - in a Mexican cave and way O'd on mescaline.

For those calling this prog, you made a wrong turn in the hallway. This is modern psychedelia of the highest order. Start with track 3 and enjoy the ride...

Personal collection
CD: 1999 Camera Obscura (Australia)

Complete with full liner notes, which helped me piece the story above together.

Jacobs Dream - s/t. 2000 USA

The summer of 1983 was an exciting time for us young metal fans, and one of the great new hopes was a band from Seattle named Queensryche, who had just released their eponymous debut EP on their own private 206 label (area code for Seattle). It was exactly the right kind of metal I was looking for, a pre sell-out Judas Priest type album with incredible songs, heavy riffage, and a gifted high-pitched singer. Unfortunately they were never to repeat this sound again, though whatever they did decide on was immensely popular, but it wasn't for me.

Enter Jacobs Dream, a somewhat obscure band from Columbus, Ohio, who are still toiling to this day. This - their year 2000 debut - is the album I was waiting for from Queensryche - and I didn't hear it until 2018. So I'm 18 years behind the times, and Queensryche is 34 years overdue. This is just the kind of traditional heavy metal I like, with real songcraft, excellent riffs and guitar solos, a little bit of progressive, but not overtly so. And vocalist David Taylor is really quite accomplished, reminding me every bit of Geoff Tate in his prime. You'll hear snippets of other groups as well such as Number of the Beast era Iron Maiden, Fates Warning circa The Spectre Within, and even Rush (listen to 'The Gathering' to see what I mean here). The music is not pitch perfect and is rough around edges - just the way I like it. Easy recommendation for those where the above time and place resonates.

I have the next two albums from Jacobs Dream sitting here and ready to check out. I doubt I paid more than $2 for any of them, and one is sealed. There is something not right with that scenario...

Personal collection
CD: 2000 Metal Blade

Krokodil - An Invisible World Revealed. 1971 Switzerland

For about 30 years, I've struggled with this release, that which is Krokodil's 3rd album. From the first time I heard it, until last night, this is the one Krautrock album that everyone else liked, that I didn't (well, fellow Swiss band McChurch Soundroom would be another). Finally last night - age 54 - I enjoyed it. So what was the problem, and why is it suddenly resolved?

Let's be clear here, Krokodil was... prior to this album - and after this album - a blues rock band. I think it ruffled my feathers a bit to even refer to them as Krautrock, and when one listens to a track like 'Odyssey in OM', and the band is firing on all cylinders with a deep Indian raga groove, and then.... then... a harmonica starts blasting out. Aaaaaaaaaa. Yuk. Stop! The issue here isn't blues rock itself. My goodness, every hard rock band from the late 60s and early 70s worth a salt had a foundation in the blues. No, the issue here is the type of blues. We're talking old-timey railroad hard-a-times-a-comin' blues. Country blues. Not in my interest area I'm afraid.

What makes An Invisible World Revealed so interesting is the juxtaposition of styles, something that I've come to appreciate more in the last decade. This album really is freaked out Krautrock... as played in some rundown club near the West Virginia and Kentucky border - in 1926 - with of course a sitar, mellotron, and heavy phased out electric guitar and Dieter Dierks at the controls. Where the highlight of the week is watch the preacher go into convulsions for 4 hours on Sunday morning.

There really is no other album like An Invisible World Revealed. Not from Krokodil nor anyone else for that matter. It's actually a bit incompetent, which only adds to the grade. So yea, I get it now...

Personal collection
CD: 2010 Second Battle (Germany)

Legit repress of 1999 CD with tri-fold digipak and history in German and English. I need to add this version to Discogs as of this writing. It does still contain the 3 bonus tracks, which are more loose "West Coast" jams, and not really belonging to this album.  They are fine as bonus tracks, but no Krautrock here.

Deja-Vu - Baroque in the Future. 1988 Japan

It all starts here for keyboard wizard Motoi Sakuraba, the famed video game composer from Japan. His debut solo album Gikyokuonsou is among the very best progressive rock albums from the fertile late 80s and early 90s Japanese scene. Deja-Vu was his rock band before going solo, and with that comes the advantages and pitfalls of a group setting. In general I'm of the mind that the synchronicity of a group usually outweighs the monolithic viewpoint of the individual. But in this case, I have to say the band is something of an encumbrance. Sakuraba is the primary songwriter, and fortunately most of the album is made up of instrumental work. And here Deja-Vu shines, though some of the synth tones are a bit too much late 80s if you know what I mean. One of the best tracks is 'Byzantium', the only song Sakuraba ported over for his debut, and is instantly recognizable. The downside of the album is when the band goes for traditional songwriting. The vocals are weak, and the songs tend to plod without much direction. They appear to be nothing more than a distraction until we can get to another cool instrumental section. So put Deja-Vu somewhere in between Social Tension, Providence, Gerard, and Outer Limits. Very much a product of the late 80s Japanese progressive rock scene. The beautiful cover cinches it as a keeper, but this isn't the best place to start either.

LP: 1988 Made in Japan

This is one I bought real time, and I probably hadn't heard it in 20 years until now (like a lot of my collection unfortunately).

July 22, 2019 update: Sold LP

TOuCH - Traumwerk 1. 1980 Germany

TOuCh's sole album is a nice example of Berlin School electronics mixed with rock elements, primarily in the form of real drums and flute. Not as dynamic as Klaus Schulze's Moondawn or Wolfgang Bock's Cycles, but some of the sequences are inventive and the album holds up well to modern ears. The group owns a large palette of keyboards, not uncommon for the genre, though it doesn't appear they took full advantage of the tones available to them, and the album could use some color. This is particularly true on the opening 'Gethsemane 1', which is a bit dull. Once the sequencers and drums kick in on part 2, the album gets more interesting. In fact, I'd argue each subsequent track is better than the prior. The group's name is an amalgamation of the two protagonist's "TOm und CHarly". Worth seeking out for fans of the genre.

Ownership: LP: 1980 Hand-Made

No CD or LP legit reissue exists as I update this post (6/11/24). Decided to part with the LP.

3/17/10; 9/28/18 (new entry)

Charlies - Jail Sessions. 1970 Finland (archival)

Charlies were a legendary band from Finland, who released two albums before dissipating. Their debut was something of a lightweight blues rock album, but the followup Buttocks is one of the record collecting world's finest gems - a fast paced, heavy blues laced prog album with ripping guitar and fine sax and flute - recalling the German band Nosferatu or England's Raw Material. And originals on Love Records will cost one a month's salary...

Apparently guitarist and band leader Eero Ravi would disagree with my - and most others - sentiment about Buttocks. He hates both of the albums, and states they are not representative of the band as they were.

Enter the Jail Sessions. Based on the material presented here, I would have to say he's right, if this is indeed what they were about. There's nothing progressive about it, and the woodwinds are nowhere to be found. The Jail Sessions are recordings from 1969 and 1970 (presented in reverse order), the latter coming only a month before Buttocks was put to tape. Apparently Charlies would record their practices just to demonstrate to themselves the progress they were making. And yes, they did indeed play in the "drunk tank" of the local jail (apparently bassist Pitka Lehtinen's old man was the local sheriff) - I'm thinking of an Andy Griffith Show gone awry here - perhaps with Otis on vocals, and Barney on drums....

So what of the music? Oh man, this is really grimy, nasty, and dirty heavy rock. The kind that garage collectors around the world crave. The MC5 let loose, with one tablespoon of The Stooges, and another cup of first album Blue Cheer. Screaming vocals, hyperactive rhythms, and extremely loud and fuzzy guitar solos. Not for the effete that's for sure. I quite liked this album, though not for the same reasons I enjoyed Buttocks. This one resonates with a primordial past somewhere deep in my DNA. Thinking caveman days here...

Personal collection
LP: 2015 Shadoks (Germany)

Quite an impressive package from the good folks at Shadoks. Even though this was released as a single sleeve, I can honestly say I think this has more historical data than I've ever seen for an archival release. Not only is the back cover chock full of info (in both Finnish and English), but the 4 page insert is loaded with information as well (all in English). They use a small type font of course... Also comes with a poster. Not even sure how all of this would fit into a CD. For once, I'm glad I got the LP instead for this one.

Satan - s/t. 1975 France (archival)

Heaven Road were a band from western France, who had played with various famous UK progressive rock groups and sang in English. As the tide had turned regarding national pride, French had become de rigueur, and so it was suggested the band take a French name. Uhhh... the unfortunate name chosen could go either way, and certainly sends a different message than Heaven Road wouldn't you say? Whatever the case, the misnomer probably did the band no favors, as the music is hardly doomish heaviness, but rather square-on progressive rock - very much in the manner of other French bands operating at the time. The most obvious comparison to my ears is Atoll at the time of L'Araignee Mal, but certainly other bands creep into the picture such as Ange, Pulsar, Pentacle, and Memoriance. The music does possess a darker edge, and there are some really fine complex guitar/Moog runs here that are quite exciting. If there's an issue, it's pretty obvious the album isn't quite ready for prime time, and needed a bit of production work. But it's better than demo quality, and for those among us whose ears are used to a little grime, then it will be of no concern whatsoever. And considering the full package (see below), this moves into the must own category.

Every web source I can find places the album at 1975, however the back cover clearly states it was recorded in 1973*. I could believe either, though 1975 seems more in line with the style coming from France at this time.

* - OK, we now have definitive confirmation from the original owner of the tapes that it is indeed 1975.

LP: 2016 Monster Melodies

To date, this album has only been issued on LP. Monster Melodies, a record store from Paris, always does a first class job with their releases. The album is stored in a wonderful gatefold cover, and is pressed in appropriate blood red vinyl, and comes with a poster, a family tree booklet, and 3 inserts! The album sounds great - as far as the original production will allow. Finding their product cheap in the States isn't easy, but worth looking around - as deals await. If living in Europe, no need to hesitate here.

First Light - How the Land Lies. 1985 England

1985 is not the first year one thinks of for quality jazz fusion, and yet First Light is not one to overlook. There are many bands with this name, but the UK group as lead by Ronnie Johnson is the focus of today's review. The interesting thing about How the Land Lies is it really does sound like a product of the 80s, and yet it doesn't possess that cold, clinical slick-as-a-butter dish production we have come to expect from the era. This is a warm, yet complex type of fusion - borderline progressive rock - with a strong sense of melody throughout. Had this contained flute, for example, one could easily see this fitting into the early 80s French or Japanese instrumental progressive rock scenes (think Kenso here). It's Ronnie Johnson's guitar that is the star, and he never loses focus of the song, and there's almost no soloing or showboating here. A very good release coming from a time and place that is not expected.

Personal collection
LP: 1985 IOU (USA)

New entry into the CDRWL. The good news is that the LP is still quite affordable if so inclined (both the UK and US copies).

Ra Can Row. 1982 USA-Ohio

Ra Can Row were a band from Cincinnati, lead by guitarist Don Schott. At the time of this recording - namely 1982 - almost no one was doing this kind of heavy psychedelic music. Perhaps only LS Bearforce in Germany, and even they had roots in a Guru Guru past. Ra Can Row actually predicted the UK Festival Psych scene by about 3 to 5 years, and could be considered a proto-Ozric Tentacles. This is a very well produced, yet unhinged driving instrumental psych music, with wild guitar solos, and relentless rhythms. The opening 16 minute+ 'Things Beyond Our Control' is the highlight, but all the tracks are satisfying on some level. Could of used a bit of editing and some more focus on songwriting, but for the time and place, Ra Can Row is quite extraordinary.

There are two distinct presses of the album, and the latter promises much better sound and precision. After many years, I finally compared the two copies back to back. Honestly I don't hear much difference. The second press is truly a re-mix, not anything unique. I think it's a bit more crisp overall, but not enough to warrant an upgrade or to keep both.

Ownership: LP: 1982 Eye. Single sleeve with a 4 page insert and a postcard.

My copy of the original has a red and white silk-screened Ra, but I've seen plenty that have a black and white one as well. All the second presses I've seen have the black and white paste-on.

7/24/09; 9/21/18 (new entry)

As far as reissues go, Don Schott was in touch with me in early 2014, via the CDRWL blog, to inform us that a reissue LP and CD were in the works. But obviously nothing has come of it to date.

Shadowfax - Watercourse Way. 1976 USA-Illinois

Shadowfax were a band from Chicago, who made a name for themselves on the New Age specialty label Windham Hill back in the 1980s and 90s. Watercourse Way is their debut from many years prior to that, and has very little in common with the sound that made them famous. Here Shadowfax is following the same footsteps as fellow Windy City denizens Streetdancer. That is to say, a band who studied Mahavishnu Orchestra's Inner Mounting Flame, and made a go of it. There are some ferocious instrumentals here (and one vocal) track, and fans of intense jazz rock/fusion are highly encouraged to pursue. There are two acoustic pieces, one a Medieval styled walk in the park ('Petite Aubade'). The other is the title track, an Asian styled piece similar to Oregon. These latter 2 would be the blueprint for their future.

For what seems most of my life, I was informed that the CD was inferior to the original LP. Truth be told, I only knew the album's sound via the CD so I didn't know the difference. I bought a sealed LP copy some 25 years ago - but I never wanted to break it! Typical record collector... In any case, it turns out the LP is still a sub $5 album, so I bought another one in shrink just to listen to it and compare. I haven't heard this album in forever, and possessed no musical memory of it, so I started with the vinyl for the comparison and then listened to the CD. Honestly I don't think there's that much difference. For certain, the CD sounds much better. The mix is far more clear, and the 2 acoustic tracks really shine better here - which isn't surprising given the heritage of both the band and the label at this point. As for the heavier tracks, I hear the keyboards moved up front a bit more, but it isn't like they hid the fiery guitar (not sure how one could do that to be honest). Nor did they erase the mellotron or anything crazy like that (I had read that they did too, jeesh folks don't pay attention do they?). The only flub up I see is the album cover. They really should have used the cool nature setting of the original LP. But I can understand why they wanted to use their standard aesthetic. I do appreciate the rougher original too. So I think it's worth keeping both (or all 3 in my case lol).

Ownership: LP: 1976 Passport. Single sleeve. Own two copies as noted above (one sealed). The sealed copy was acquired at the Record Exchange in Kansas City (1991)

CD: 1985 Lost Lake Arts. Jewel case release with short history. Lost Lake Arts is Windham Hill's label for reissues and archival material before joining the label. 

11/10/91 (first listen); 9/21/18 (review/new entry)

New Trolls Atomic System. 1973 Italy

I've spoken about the New Trolls' lack of identity in the past on Searching for a Land, and the New Trolls Atomic System (nee NT Atomic System) continues along this path to underscore the problem. The group is so confused at this state, they can't even articulate their band name properly to the label, so much so they were forced to put a sticker on the LP so that it was absolutely clear. Really I think the buying populace could have figured it out. I mean I think most folks can handle ELP without spelling out Emerson, Lake and Palmer right? In order to ensure everyone stays confused, the band released the album as Night On The Bare Mountain in Germany (uh, guys, it's Night on Bald Mountain in any case...). And sure why not? How about calling it To Believe Again - Later I Saw - Hibernation in France. These latter two releases included the aforementioned classical composer's track 'Una Notte Sul Monte Calvo', while leaving off the English language 'Butterfly'. And then finally, they decided to release all the tracks on the same album for the Italian market 3 years later - with the title Una Notte Sul Monte Calvo. Mannn, this band is CONFUSED!

Ah yes, the music. Well it's nice to see the New Trolls [N.T.] [Atomic System] hearkening back to their progressive rock past. The album opens in killer fashion with 'La nuova predica di Padre O'Brien' and continues down this path for the majority of the album. My recollection was something more akin to a strong opening and it more or less falls off a cliff from there. Not so. For certain, the Italian prog style's gymnastics are mostly front loaded, but a careful listen demonstrates the band is clearly operating in similar territory to their peers during this era. There's some singer-songwriter characteristics, but again, that is an ingredient of the classic sound and should not be dismissed. Add me to the chorus that states 'Butterfly' is the weakest track - and it's never a good idea to finish in lackluster fashion, as that is the lasting impression. This track appears to be made for the export market (and yet, somehow it fell off all the export releases - jeesh!), and is incongruous with the preceding material. And it closes with the greatest sin of all... a drum solo.

Ownership: LP: 1973 Magma; LP: 1982 Seven Seas (Japan). The one and only LP version one should seek out if packaging is of interest. It's a beautiful 3 part gatefold, where the middle sleeve houses the album proper.  Picked up the Japanese copy recently on a whim. Not sure I'll keep it though.

3/18/20

Release Music Orchestra - Get the Ball. 1976 Germany

On RYM, they have a feature called "Discussion" that is embedded within each album's page. It will show if that specific album has been referenced directly (via link) in a specific thread by one of the contributors. What's most interesting about Release Music Orchestra's third album Get The Ball, is the title of the 3 threads it has been mentioned as a part of (as I write these notes): 1) "Funky Krautrock"; 2) "Synth-Oriented Krautrock"; 3)"Gimme More Jazz Fusion Like..." That folks, is my review of the album right there.

RMO is clearly moving away from their Canterburyish sophomore release Garuda, and heading more into the trendy funky fusion waters of the era. On paper, that sounds like a potential disaster, but in the hands of the veteran RMO, it all comes together nicely. Some fantastic Rhodes and synthesizer work can be heard, and the rhythm section is always on point and edgy. The female vocals only add to the vibe. A very consistent album, where every track could be considered excellent.

Ownership: LP: 1976 Brain. Single sleeve. Green label original. Recent online acquisition (2018). This a title that's been on my CD Reissue Wish List forever. And sadly that remains the case (along with all the RMO's and the last Tomorrow's Gift album). When I first decided I wanted this album on LP, I thought it would be a matter of going to ebay and Discogs and picking up the first nice copy on the cheap. Not the case at all! This album is surprisingly scarce and expensive - more so than the two that precede it. Which I think points to the strong demand it truly has. 

9/21/18 (new entry)

Far East Family Band - Tenkujin. 1977 Japan

There were a handful of record labels from America in the 1970s who tried desperately to bring what was happening over in Europe over to these shores. All without exception were met with apathy and commercial failure. Peters International probably had the best go at it via their thriving import business, but even they didn't really do all that well here. While there's always been a dedicated fan base on our shores, and especially a large following for the bigger name British groups, progressive rock / Krautrock - or what was once known as Euro Rock (you'll still see this term used by the older generation of US record dealers) - is just not something that captured the nation at large. Why this is, I really cannot say. As I - of course - am one that was most enamored, even at a young age. But the masses can be pretty dumb'd down sad to say. Enter the All Ears label, a California based concern, that may have been indeed the last great hope during the original LP era. Unfortunately for Tony Harrington and team, their arrival came at the tail end of the progressive rock movement, and many of the marquee names they signed, were indeed well past their prime. And All Ears met the same fate as the others: Boarded up and remembered only by a loyal few.

That paragraph sets us up for Tenkujin. Far East Family Band had just released their best album - by far in this author's opinion - with Parallel World, only to disappoint with Tenkujin. As you will often read from others, just because it's disappointing, doesn't mean it isn't any good. In fact, if you like earlier Far East Family Band albums, then Tenkujin might sound quite comfortable. They have reverted back to this sort of dazy Pink Floyd Dark Side of the Moon sound, and since I consider that album dull (I'm not alone here), then certainly a copycat isn't going to delight either. Still there's plenty of wonderful phased guitar, synthesizers, and even mellotron to enjoy. The vocals parts are where the music drags. And on the title track, it gets a bit late 70s lounge like, where one expects a hairy chested Paul Anka to take over the microphone.

Ownership: LP: 1979 All Ears (USA). Single sleeve. Light blue vinyl purchased many years ago (from a local record show I think). The original was pressed in both Japan and also here in the States in 1977. Album comes with a lyric insert, with the flip side containing a letter from label owner Tony Harrington detailing his experience with Far East Family Band. All good stuff. The images you see are this exact copy as we just added the entry to Discogs.

new entry; 1/19/22

Santana - Amigos. 1976 USA-California

Funny about these albums sitting in the collection forever, that go back to childhood, and yet I couldn't tell you squat about it. I only kept the LP all these years because of 'Europa'. More on that one in a minute. What of the other 6 tracks, are they really that bad? No, not all actually. Well, save one.

'Dance Sister Dance' is a hybrid classic Santana Latin number with some creeping funk influence. The latter half of this song jams quite well. Which then segues nicely into the album's hidden gem 'Take Me With You', which sounds like early Santana ripping and roaring, until it puts the brakes on for a nice journey on The Love Boat. C'mon now, the girls are pretty and this is the perfect soundtrack. 'Let Me' isn't so bad really. Yes, it's got that Herbie Hancock Clavinet thing going and I could probably go without the "soul sister" chorus' that were annoying even back then... and especially now. But Santana is there to lay down a killer lick or 2, so it's OK.

'Gitano' is Amigos' contribution to Latin music. There are times when it seems it's about to take off into another killer jam, but it stays within the rails too much. 'Tell Me Are You Tired'. (OK, if you insist). This one is a bit too much funk pop for me, with more soul sister chorus', but not egregious on the whole.

This leads to 'Europa', which is just simply one of the most beautiful - and powerful - instrumentals ever committed to tape. Been hearing it for over 40 years, and I still get goosebumps throughout the entire song. Had it only been 20 minutes.... In any case this leads to...

'Let it Shine', the track that does everything in its power to desecrate the previous - that what was once holy and sacred. I mean I can deal with a little boogie woogie now and then, but seriously this is just plain awful. OK, let's just forget it ever happened. Nothing to see here.

And so with that - an album that is far better than I ever recalled. Glad I kept it.

Ownership: LP: 198? Columbia. Single sleeve.

There was a time when my record collection was solely made up of albums like this (through about 1981 or so) - i.e. later US presses of classic 70s rock and prog albums. 95% of those are gone, either replaced by CDs, or upgraded to original LP pressings (and often times both). And of those 5% that are still here, almost all of those have a CD supplement. In that way, I appreciate this album for the nostalgia. Odd choice it is, but it survived all the purges somehow. Now I will keep it for good because of that situation...

1989; 11/30/07; 9/21/18 (review / new entry)

Ruphus - Inner Voice. 1977 Norway

I once owned this album in the late 1980s and early 90s but eventually sold it. Now I understand why. Bought the LP again on a whim anyway and... time to say bye-bye to Inner Voice! By this time in the band's career, they had moved completely into jazz rock waters. There's nothing left of their progressive rock legacy as even found on their previous album, which this does share some similarity with. All the same, there's some blistering guitar work here, along with some nice Fender Rhodes. What's holding me back from appreciating it more is, quite frankly, the raspy female vocalist. You will be hard pressed to find a more tolerant fan of female vocals, in a rock or jazz setting, than I. But this gal really pushes the limits of her range. And she's pretty dominant on the recording, so there's no hiding from it or rationalizing it away (like with say, Epidaurus). I mean she ruins every track on the album. It's a decent album, especially when one considers the instrumental work by this veteran band. And it sports an even better cover. Too bad, that. The band - and she in particular - improved on the followup Flying Colours. So I recommend skipping this one, and going for that instead.

LP: 1977 Brain (Germany)

Troisieme Rive - Banlieues. 1978 France

Troisième Rive's sole album was part of the electrified French folk movement, which had gained quite a bit of traction in Brittany with bands such as Malicorne and Gwendal. However this album is from Besançon, on the eastern front, bordering Switzerland - though there are similarities regarding the folk rock approach. A vocal-heavy album, so if you're looking for more instrumental expansion, you won't find it here. There's even a hint of Peter Gabriel-era Genesis in the vocal passages, but again, no major instrumental break outs (not to say there isn't some fine playing from all, especially the guitarist). Good for fans of French folk rock with a mild progressive influence. Features a fantastic album cover, however.

I did own this album back in the 90s, and sold off. In reflection, that appears to have been the right move.

LP: 1978 Disques Iris

Originally reviewed: April 13, 2011 (updated here)

Popol Ace - Stolen From Time. 1975 Norway

After two albums as Popol Vuh, the band changed their name to Popol Ace, presumably to avoid confusion with the German band. Or... it could also signify a conscious move toward commercial rock. In some ways, Stolen From Time was about 10 years ahead of its time. On offer here is a concise, safe rock album, with progressive rock trimmings - the recipe for the Dutch (think SI label) neo prog scene that came about a decade+ later. There's just not much here except for a couple of interesting instrumental breaks and a handful of decent hooks. I suppose a band like Styx comes to mind here as well, but it lacks that Midwest American charm. The beautiful "Roger Dean styled" cover belies the contents within. Tragedy that.

The original German LP (which I'm parting with) is clearly copyrighted to 1975 on both the labels and the back cover. However, the last recording date was November 1975, so it may very well have been released in 1976.

LP: 1975 Polydor (Germany)

Originally reviewed: 2006 (updated here)

Dada. 1981 Japan

Dada's self-titled second album is a smorgasbord of progressive electronic styles. Mostly made up of high energy synthesizers, with guitar accompaniment and some inventive arrangements. This is the first appearance of guitarist Izumi's 'Flying Ship' composition, one that he actually improved upon with his next venture Kennedy. It remains the best song both bands ever performed. Side 1 is very good considering the strong closer that is 'Flying Ship'. I'm also quite fond of the energetic opener 'Perpetual Motion' and A3 'America'. Side 2 is a bit more languid, and 'Jiro's Birthday Party' is plain stupid. Final dramatic closer possesses a hypnotic quality. Ostensibly this album is often listed with the German and French classics, and certainly 1980s era Tangerine Dream is in the discussion. While there are stacks of electronic albums better than this, the album is not without its charms. 

Ownership: LP: 1981 King. White label promo with rice paper obi. Purchased in 1993 but I don't remember from whom. The cover is stunning, a very colorful surrealistic painting. The labels are plain white with just a stamp on one side. 

9/21/18 (new entry); 1/5/23 (sell LP)

Zyma - Thoughts. 1978 Germany

Zyma's debut full length album finds itself somewhere between the mid to late 70s Continental European prog sound - as influenced by Frank Zappa - and the instrumental greatness that was Tortilla Flat. You'll often see references to Canterbury for Thoughts -and I'm one of those who do that - but really it falls to the margins of said sound. Certainly one of the better private presses coming from Germany during this time, and there are many of them. If you like bands as diverse as Bonfire, early Solution, Ma Banlieue Flasque, early Nine Days Wonder - and especially the less goofy elements of Dr. Dopo Jam, then Thoughts is one you'll want to add to your stack. Great album in my estimation.

The CD adds two bonus tracks, both taken from the Proton 1 album, and their sound in 1974 was much more geared to this list of bands Post psychedelic, proto progressive with female vocals than what Thoughts delivers. I would love to hear a whole album from this era of the band.

Ownership: CD: 1998 Garden of Delights. Purchased online new upon release. Considering the bonus tracks, great sound, and the full history, I can't see any need to own anything more than this. I'll take an original of course, but it's expensive and not necessary. In those same liner notes referenced above, Garden of Delights promises us that their second album Brave New World will be issued sometime in 1999. Umm... looking at their website, it's still on their Coming Soon list. No rush guys...

Yatha Sidhra - A Meditation Mass. 1974 Germany

Krautrock, at least as I see it, is a most misunderstood term*. For some, they never get past the gateway drug that is motorik, as best defined by Neu! and Can. For others it's the German rough and ready Hammond organ fueled sound of 1971. And then there are many who will site the cosmic guitar freakouts of Ash Ra Tempel, Guru Guru, and early Tangerine Dream as an example of Krautrock. The truth is, it's all the above. What Krautrock isn't, though, is a could-be-interpreted derogatory term defining all rock music coming from Germany. And in fact, I firmly believe that Krautrock can exist outside the Fatherland's borders. And a few recent bands have done just that - a fine job at recreating the atmosphere and angst of that era. Not an easy achievement in these modern times, where the filters of our current life are far different than they were back then. Not even various forms of progressive or experimental rock from Germany should count as Krautrock. When I see the late 70s and early 80s Christian progressive rock movement being defined as Krautrock, for example, I cringe. Bands like Eden, Credemus, and Werwolf are about as far away from the ethos of the era as can possibly be imagined (and I enjoy these bands too on their own terms).

I pen the above in a Yatha Sidhra review, because to me A Meditation Mass represents the pure embodiment of the Krautrock sound. The coming together of the flute, hand percussion, piano, electric guitar, and disembodied vocals sends shivers down my spine - from the first time I heard this album in 1991 - to this very day. When hearing this, I'm in the same flat as Ash Ra Tempel or Orange Peel or Mythos or Popol Vuh. None of these bands sound anything alike, and yet they all conjure up that spirit of exploration and radicalism through music. It's like a magnet. This music is timeless. There's a reason why Krautrock has maintained its popularity all these years, even increasing as time goes by, though it was largely ignored upon original release. Many of the original releases sold so poorly they ended up in trash bins, and thus their rarity today. Yatha Sidhra is one of those albums. A brilliant 5 star album, that is tagged as such through pure subjectivity. A purely non-emotional objective review would result in far less. I can't possibly go there - it's too late. 

*My definition is different from the one in RYM's pages. In general I tend to agree with RYM on their genre definitions, and I admire the site for attempting to put in words what can be oh-so-difficult otherwise (and subject to heated debate). Krautrock will always be a term that few will agree on. I can accept different definitions here, and thus I've provided mine. What I won't accept is the absolute rubbish of the last paragraph. It's American and European PCing at its worst. It goes against historical fact, and brings in a modern revisionist viewpoint that is entirely unnecessary. As someone who has has been collecting since the mid 1980s - and has been to the country multiple times in that era - and dealt with many German progressive rock dealers for over 30 years - it is a term that is embraced by the local populace. And that continues to this day. Of course, some will be offended. EVERYONE is offended about something, but this paragraph should go by the wayside IMO.

Ownership: LP: 1974 Brain. Gatefold with stenciled die-cut sleeve. Green label with Metronome. Acquired via a trade with a dealer in the US (1991).

CD: 1995 Spalax (France). Jewel case release.

For an album that supposedly didn't sell well, it's surprising to learn there are 3 distinct releases. One features as its cover the former insert. And yet another was released without the Metronome, meaning it was pressed in 1975 most likely. There are many green Brain Metronome albums that never saw more than one pressing. So perhaps it did sell better than is reported today.

1991; 9/14/18 (new entry)

Witthuser & Westrupp - Der Jesuspilz. 1971 Germany

This is a crazy one, that's for sure. There's about 30 minutes of great music here, and another 10 minutes of... well... you know. 'Liturgie' starts things off in awful fashion with a Floh de Cologne like drunken ditty. Sell bin I think right? Then comes 'Schöpfung', which is the album's highlight. It's every bit Krautrock - in sound, atmosphere, oh don't get me going on that again. The droning trance narration against acoustic - and yes, electric - guitars and swirling keyboards. Reminds me a lot of Sergius Golowin or Walter Wegmuller here. Brilliant. 'Erleuchtung und Berufung' starts off with a blast of mellotron, which is later juxtaposed against a children's choir. Awesome. We're on the rails to stardom right? Wrong. Most of 'Versammlung - Bekenntnis - Die Aussendung' can best be forgotten, though the harmonium on 'Bekenntnis' is nice. Oh that kazoo! Really? 'Nehmet hin esset' is a pleasant folk piece though, and then the album closes on a high note with 'Besuch aus dem Kosmos' which is acid folk at its best - love the swirling Klaus Schulze like synthesizer background. As odd as they get, but well worth your time I think.

Ownership: LP: 1971 Pilz. A beautiful gatefold cover adorns this most unpredictable work. I think I ended up with this in a trade some 20 years ago.

Maneige - Libre Service. 1978 Canada-Quebec

You gotta hang in there with this one, Maneige's 4th album. The album opens up with a funky chicken number, and that leads into a trendy Latin jazz rock piece, that isn't entirely convincing either (though I admit to liking it). 'Les Petoncles' seems to be heading into more funk, when the album shifts gears and features the rawest electric guitar soloing of the album. Now we're in business. 'La Belle et la Bête' is the kind of avant prog everyone likes, with its complex rhythms, strong melody line, and angular structures. I tend to group 'Bagdad' and 'Noemie' together, though they have nothing in common with each other, other than they are 2 snippets of songs that close the side. The former is a middle eastern styled number (surprise) and the latter a pensive introspective piano led closer. Side 2 is all aces. 'Celebration' recalls the charming Harmonium and that leads into the album's most progressive track 'La Noce', where one can hear the happy sounds of Spain's Gotic. 'Miro Vibro' closes in similar progressive rock fashion, and might be Libre Service's best song. Plenty of flute, tuned percussion, guitar, and complex compositions define this mature work. I'm not sure where the negativity is coming from here, though the inauspicious opening doesn't help. I would expect all serious raters to hear the whole thing, however.

Ownership: LP: 1978 Polydor. Single sleeve. Online acquisition (2015). The first LP copy I bought was from a mail order dealer in 1992, and sold it off when the CD hit the market (since sold). 

True original LPs sport a different cover. It's a Chevy Mist green color with two gas pumps and "thought clouds". I kind of like it myself, and have no idea why it was withdrawn. It's quite rare these days, and I've never owned one. The more known cover. has the familiar food truck sitting near a motel, in a very depressing looking winter setting. I absolutely love this cover - one of my favorites, though not overtly striking of course. There does exist a "French only" version with a different font, and the label title only in Quebec's first language. Since it's instrumental, not quite sure why it matters - AND the titles remained in French anyway without translation on the "English" version. OK then... 

I don't think I've heard this album since 1994! 24 years ago - my goodness. I was 29 or 30 at the time. A lifetime ago...

1992; 1994; 9/14/18 (new entry)

Amish. 1972 Canada-Ontario

Amish were an Ontario based group who recorded their sole album in Detroit, due to the Sussex label having ties to Motown. Amish simply could be described as a hard rock / heavy prog band with Hammond organ and electric guitar providing the solo leads. But where Amish stands out is the superb progressive oriented organ work, and I really like the way they wah-wah-riff the rhythm guitar parts. There's even some strange throwback psychedelic era interludes that recall bands such as Stone Circus or even Strawberry Alarm Clock. They also cover Traffic's 'Dear Mr. Fantasy', a very interesting choice (though probably the weakest of the album). Every track is a winner, with 'Wise Man' being a highlight. If looking for comparisons, I'd offer up debut album era Uriah Heep, along with obscurities like fellow Ontario based Warpig and New York's Micah. Bassist Mike Gingrich later became a member of the progressive rock group Nightwinds. Strong album that comes recommended.

Ownership: LP: 1972 Sussex (USA). Single sleeve. Recent online acquisition (2018). Remains without a legit reissue of any kind (as of 3/23/23).

9/17/10 (CDRWL); 9/14/18 (new entry)

Dionysos - Le Grand Jeu. 1970 Canada-Quebec

Along with Franck Dervieux, Dionysos' first two albums have to be considered Quebec's most pioneering progressive rock works. They mixed psych, electric blues rock, and long track progressive compositions to create some wholly original music for the time and place. Their debut Le Grand Jeu is simply one of the heaviest albums to ever emerge from Le Belle Province. Wicked heavy guitar and some fine Hammond organ define this most auspicious debut. The tracks are lengthy and they put the extra time to good use by adding various musical ideas throughout, with the odd interspersed jam keeping it fresh. They also use the local French language, something that wasn't yet in vogue in Quebec at the time. Apparently 'Suzie''s got the blues, and she got 'em real bad. So I'd just leave her back and let her deal with it - and focus on the rest of the great tunes!

Ownership: LP: 1970 Jupiter. Gatefold

Was reissued as part of a 5 CD box set from Return to Analog in 2022.

7/3/09; 9/14/18 (new entry)

Pop Workshop - Vol. 1. 1973 Sweden

On the same label (Grammofonverket) as the much recommended Ibis album, Pop Workshop are clearly a band operating in the raw jazz rock category (rather than fusion). Founded by two prominent Polish jazz members on keyboards and sax, Pop Workshop - over the course of both albums - features marquee name players such as guitarist Janne Schaffer, drummer Tony Williams, and bassist Mads Vinding. This is definitely music of the underground, and fans looking for slick fusion will have to look elsewhere. I would say Ablution - another international band based in Sweden - is probably the closest comparison here. Vol. 1 finishes particularly strong with 'Equivalent in Nature' and 'Perfect Touchdown', both tracks arguably the best on the album - and certainly the most heavy and (relatively) radical.

Personal collection
LP: 1973 Midnight Sun

The above version is exactly like the original on Grammofonverket, including the gatefold sleeve. The only difference is the label, and that it was made for "export". Guessing Grammofonverket wasn't a name grabbing English buyers. But it was only a label name after all. In any case, seems to have been a short lived experiment, and entirely unnecessary.

Still no reissues exist as of this update.

Originally reviewed: July 5, 2014 (updated here)

Tai Phong - Windows. 1976 France

Tai Phong are basically French Indochina's (historical reference...) version of Yes. On their second album Windows, one will hear some fantastic quality instrumental work, for example on both the opener and closer, as well as on 'Circle'. The high pitched male voice (sounding every bit like a female) is also perfect for the setting. Yes of course, there is some pop slop to sit through like on 'Games' and 'Last Chance'. So it's not perfect by any means, but certainly not bad at all in the aggregate. Worth owning for fans of the genre.

Personal collection
LP: 1976 Warner Bros.

The fine textured gatefold cover makes me want to keep this one longer than others of its ilk.

Steve Tibbetts. 1977 USA-Minnesota

Steve Tibbetts' debut album is as groundbreaking as his more recognized second album Yr (an album that I personally find fantastic). My recollection of his debut was something more akin to an instrumental acoustic guitar album with a blazing freakout electric piece at the end. But actually there's more than that on display. There are synthesizers throughout, and the acoustic guitar accompaniment is more common in what one would hear on a French electronic album back in the 1970s. Which makes me wonder if Tibbetts didn't spend a bit of time in the Import section of his local Minneapolis record store. And, yea, 'How Do You Like My Buddha?' is still a killer closer.

Ownership: LP: 1977 Frammis

Technically this is the second press, as the first does not have a label, and the front cover has his full name on it. I should probably look into getting this one on CD, as the music is more appropriate for that medium - and mine isn't the best copy to begin with.

Zao - Kawana. 1976 France

Zao's 4th album is a shockingly ordinary fusion album for the era. Very well played mind you, but not even close to the best the genre has to offer. More chops than songwriting for sure. The addition of Didier Lockwood on violin helped immensely, because without his presence, the album would have been considerably worse. Jean My Truong also should be called out for his awesome drumming. Jeff Seffer's saxophone tone, however, gets on my nerves. Atonal and noisy, when the music calls for smooth and melodic - similar to Lockwood's playing for example. As for the band in general, all traces of their Zeuhl background have been rubbed out here. Not sure I understand the praise this one gets - I find it disappointing for a band with a pedigree like Zao. Of course it's still very good - not saying different - but one would have hoped for more depth here. Admittedly, the album does finish strong with the closer 'Free-Folk'.

Ownership: CD: 1991 Musea. Jewel case with full historical liner notes. Online acquisition (1999). Also bought the LP afterwards but have since sold it. And after one final evaluation, the CD can go as well.

1999; 9/14/18 (new entry); 9/5/23

Ugly Custard. 1970 England

Ugly Custard's sole album can best be described as instrumental psychedelic cover versions of well known songs, and a few originals... that sound like cover versions! That folks is what is better known as an "exploitation" album. Side 1 are the covers whereas most of side 2 is original material. Though the tracks are more fleshed out, this is basically TV and incidental movie soundtrack music. Inessential but fun album.

Ownership: LP: 2012 Strut. Single sleeve. Recent online purchase. Reissue is basic with only the hype sticker offering any information. Has a download card if interested in those things. Decided to sell.

1/26/21; 5/28/21

Step Ahead - s/t. 1982 France

What's most interesting about Step Ahead is just how un-French it really is. 1982 was a boom time for creative French progressive rock groups festering in the underground. Step Ahead is none of that. I think understanding that will help one digest this album better. As others have suggested, Step Ahead taps more into the burgeoning New Wave of British Prog Rock that was just about to launch. Whether Step Ahead were involved - or influenced - by that, it's hard to say, though I would expect not. Yes of course band leader Christian Robin spent much time in England, but what I hear is someone who took the same inputs as Marillion, IQ, et al, and spit out a similar conclusion. When one hears the vocal style (sounding every bit like an early 80s FM radio crooner), and some of the compositions, it's not a real stretch to hear bands like Asia in the mix. And really, if one listens closely, Step Ahead clearly had the stuff to make a radio hit in those days. The album needed more polish and editing, and some of the music is just too proggy for its own good - at least if commercial ambition is in play here. The gatefold cover is quite lavish, and it actually looks like Japanese anime to my eyes. A bizarre juxtaposition of themes on display. Is it prog, is it AOR, is it American, English, or Japanese? Nope. It's a French neo prog album, without any influence of its own culture like Ange, Magma, or Atoll. One of a kind, and better than I remembered.

Personal collection
LP: 1987 RCA (Japan)

For years I thought this album was released for the Japanese market, given the anime styled gatefold cover. But alas, no, it was in fact released 5 years earlier only in France. Must have sold 30 copies too. And the bizarre thing is the original is not that rare.

The Albert. 1970 USA

And the award for most confusing discography goes to.... The Albert! Two albums, both self-titled, same year, and on the same label. Yea, that makes it easy to research.

The Albert definitely fall on the soul-jazz/pop side of the horn rock equation. But there's some really fine horn charts, hard guitar, and organ that separate this one from the pack. Also check out the well done sax and trumpet solos. So not the best the genre has to offer, but fans of same will want to investigate.

LP: 1970 Perception

12/17/10 (first listen); 2/13/14 (review)

TCB - Open For Business. 1970 USA

TCB's sole album is a mix of soul based horn rock with gruff vocals and bluesy motifs, coupled with a gentle folk side recalling perhaps Michaelangelo of One Voice Many fame. Roller rink organ, fuzz guitar, harpsichord, male/female vocals, alto/tenor sax, and trumpet are the primary instruments. The music is very much a sound of its time and recalls other such acts like The Albert, Sod, 4th Cekcion, etc... The band's ace up the sleeve, though, is the 23+ minute closer, which shows TCB stretching out in jazz rock fashion. A choppy organ, bass, drums vamp is laid down, and each instrument is allowed some time for an improvisational solo including a bit of scat singing. While not exactly groundbreaking, it is unusual to find this much time allocated for such music - especially on what is essentially a pop rock record. A fine album worth investigating. Quite a long one too considering the era in which it was released.

This TCB is not to be confused with Elvis Presley's backup band who operated from 1969 to 1977. And just like that TCB, this ensemble is indeed an acronym that stands for Taking Care of Business.

This is an old entry from the CDRWL (priority 3). I had purchased the LP, but have just decided to let it go, though I do think it's not bad at all. Just too much stuff here.

LP: 1970 Traffic

Originally reviewed: November 1, 2014

Archaia. 1977 France

Archaia's sole album has always been a legend in collecting circles, and is one of France's most prized items. Dark, menacing, foreboding, and sinister are adjectives that best describe the music. Bass, sequencers, chanting voices, and the most compressed fuzz guitar sound you'll ever hear, define this incredibly fascinating work. Side 1 is brilliant whereas Side 2 the material isn't quite as strong, but still holds up under scrutiny. Generally sited as being from the Zeuhl camp - not to mention it being the debut reissue for the specialist label Soleil Zeuhl - though in reality it belongs just as much to the 70s progressive electronic movement in France from the likes of Heldon, Lard Free, Verto, Igor Wakhevitch, Horrific Child, and anything Philippe Besombes was involved with. There are points within the album where the synthesizers come to a climax, and one expects a thumping bass and pounding drums, and yet they don't appear (of course, they don't have a drummer either...). These are the Eskaton moments that do not come to fruition. Whatever the case, Archaia can be considered entirely unique, borrowing from a host of ideas and outputting something completely unexpected. A great one here.

Ownership: LP: 1977 Choravox. Single sleeve. Acquired in a blockbuster trade with a well known Belgian dealer (1996).

CD: 1998 Soleil Zeuhl. Jewel case with liner notes and bonus tracks.

1996; 1998; 9/7/18 (new entry)