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