T.N.T.H. ~ France

Let's Go Children of the Country (1971)

T.N.T.H. were a band from France who released this one memorable LP, resurfaced a few years later with a single, and then disappeared without notice. Given the moniker, one would presume it to be an acronym of some sort. What it stands for is anyone's guess, as it would appear to be a closely guarded secret. It doesn't seem to come from the members names. Perhaps it's a play on the word "tenth", with a grammatically incorrect acronym to support. Does it matter?

So what do we have here with the 1971 release Let's Go Children of the Country? A cross of Chicago styled horn rock and a type of instrumental funk. It's the latter that opens up the album, the two part 'Hippopotamus' has an infectious groove that just won't quit. If you're not dancing your brains out on this one, or at least imagining such a thing - then time to check the ole pulse to see if you're still here. The closer, the namesake T.N.T.H., is the perfect horn rock instrumental, with jamming rhythm guitar and killer horn solos. The highlight track for me anyway. As for the other songs, they too are excellent, more song based (with occasional vocals) than the bookends. A great album as far as I'm concerned.

Ownership: 1971 Barclay (LP)

No legit reissues as of 3/24/25.

12/25/19 (review / new entry)

Funkadelic - Maggot Brain. 1971 USA-New Jersey

Maggot Brain is the 3rd album from Funkadelic, and is often cited as their masterpiece. No argument from me, though it is quite a departure from their ordinary sound. The title track has to be the darnedest opening to a funk rock album that has ever been. Sounding like a cosmic Krautrock piece, Eddie Hazel conjures up something like My Solid Ground on 'Dirty Yellow Mist' playing the music of Dom's Edge of Time. I will never tire of music such as this. Can you imagine if Eddie Hazel was the guitarist for Del Jones? Well there would be no point in owning any other albums then.... 

I'm not particularly fond of the more traditional soul funk tracks here such as 'Can You Get to That' or 'Back in Our Minds'. The hard hitting psychedelic funk of 'Hit It and Quit It' and 'Super Stupid' are Funkadelic at their energetic best. And 'Wars of Armageddon' closes in great fashion with more heavy guitar and some experimental collage work. Yep, I'm standing in line for this one. 

Ownership: CD: 199? Westbound (UK).  Purchased online in 1998. This version of the CD is really basic, though it does replicate the incoherent rant from the original LP. Not sure there are any CDs that do the album justice, though it appears later versions have bonus tracks.

1//15; 12/20/19 (new entry)

Granada ~ Spain

Valle del Pas (1978)

Valle del Pas is Granada's 3rd and last album. It is also one of the most important records in my entire collection. Like many obscure European progressive rock albums, I found this new in a record store in early 1988. It was, as it turns out, the very first album I ever owned from Spain. An unlikely choice, Granada is not really a band that represents Spain in the more traditional sense like a Triana or Medina Azahara would be. Even the name is confusing to outsiders. Granada being most known as the last great city of the Moorish Empire. Given its place in history, it would seem Granada would indeed be quite representative of the Spanish sound. Ah, but Spain is a very diverse country. The first good clue is the album cover itself. Men in heavy coats in a lush dark green field, one playing the bagpipes. What one would associate with the Celtic regions of Espana like Asturias, Cantabria, or Galicia. And... Granada is also the name of a fruit, that which translates to a pomegranate. There you have it.

The album itself is brilliant, but subtlety so. Each track is packed with many ideas but the changes aren't jarring in the Italian tradition. The sound is what I often refer to as "European Warm Progressive", a type of music we hear in late 70s Spain and France in particular. It's definitely progressive rock, but at its most charming and wholesome. There is a Celtic component here, but not overwhelmingly so, the most obvious tracks being 'El Himmo del Sapo' and closer 'Ya Llueve'. There's even some classical references on 'Calle Betis (Atardeciendo)'. Overall, Valle del Pas is highly melodic but sophisticated, and even after some 32 years of familiarity, I never tire of hearing it. One of my 5 star masterpieces for certain.

Ownership: 

1978 Movieplay (LP). Gatefold.

2006 Fonomusic (CD). Digipak.

1//88 (acquired); 12/20/19 (review)

Also own and need to review: Hablo de Una Tierra; Espana, Ano 75

12/20/19 (new entry)

Lloyd McNeill - Elegia. 1980 USA-Washington D.C.

This is the last of the 6 album run that Lloyd McNeill started with Asha in 1969. He did not change with the times. Despite being from 1980, it sounds every bit like a jazz record from the 1960s. Few, if any, could put the spirit in spiritual jazz like McNeill. In many cases the term is just a euphemism for free blow. Not with McNeill. All his pieces are highly composed and often times have a groove that just won't quit. One doesn't have to go any further than the opener 'Samba for the Animals' to underscore that latter point. McNeill also recreates his initial signature piece with 'Asha II', one of the most beautiful flute driven jazz pieces one can ever hear. Closer 'Memory Cycle' is another composition in this style of spiritual jazz. The one diversion here is 'Elegiac Suite for Elizabeth', an incredibly powerful track dedicated to the passing of his 80 year old mom Elizabeth B. McNeill. Here, McNeill and his mostly Brazilian backing band are joined by soprano singer Susan Osborn. It's not an easy listen, rather an intense portrayal. It's hard to imagine any album that was as out of time as Elegia was in 1980. This would be the end of the line for McNeill on the release front (for all intents and purposes), but he continued on with all of his artistic pursuits.

Ownership: CD: 2019 Soul Jazz. The CD is superb though the booklet is largely a retelling of Soul Jazz's prior reissues of McNeill's incredibly rich life with a brief summary at the beginning about Elegia. There are no bonus tracks.

12/19/19 (entry)

The Moving Sidewalks - The Complete Collection. 1967-1968 USA-Texas

The Moving Sidewalks were the Houston, Texas based psych band that gained fame later as the breeding ground for Billy Gibbons, he of ZZ Top fame. What becomes evident rather quickly is the influence of a one Jimi Hendrix, during the Experience years of course. There are photos of Hendrix and Gibbons together, and the former was known to have praised the latter's guitar work. It must have been quite the ego boost to be surrounded with such great company at an early age.

Flash would be their only album before ultimately disbanding and Gibbons forming ZZ Top. The music is a cross of high energy psychedelic with that of the blues, the latter being more the influence of Gibbon's next career. The album starts off incredible strong, but does wheeze out at the end with the somewhat traditional and lengthy 'Joe Blues', and the wacky and seemingly drug induced 'Eclipse' / 'Reclipse' segment.

Their singles were an indication of where the band was headed, and all are worthy as well. For example  'I Want to Hold Your Hand' is probably the last track from the Beatles' canon I would pick for a psych cover, but my goodness, did they absolutely destroy this track in effects - almost beyond recognition. Best version ever - at least that I've heard!

---

The Moving Sidewalks were the Houston based psych band that gained fame later as the breeding ground for a one Billy Gibbons, he of ZZ Top fame. 'I Want to Hold Your Hand' is probably the last track from the Beatles' canon I would pick for a psych cover, but my goodness, did they absolutely destroy this track in effects - almost beyond recognition. Best version ever - at least that I've heard!

'Joe's Blues' is a solid electric blues number, with excellent guitar and organ. And yes, the guitar here can be quite psychedelic sounding. It's the full 7+ minute version, so far beyond the usual single length. And yea sure, they do have the blues real bad. They got 'em. Yeaaa they do.

An incongruous single, but very good all the same.

CD: 2012 Rockbeat (The Complete Collection)

The CD (and 2LP) reissue is superb and collects everything The Moving Sidewalks - and precursor group The Coachmen - ever did. This includes alternate takes on both singles and album tunes. There are many great archival photos, and excellent discography information. What's strangely missing is an accompanying essay and/or historical notes. It's kind of baffling really. All the same, if the American late 1960s psych experience interests you, this collection is a can't miss acquisition.

Starcastle - Citadel. 1977 USA-Illinois

"OK Starcastle, enough is enough, time to produce a hit record!" So the good guys from Illinois roll back into the studio - ah but now we're going to invest heavily and ensure you stay on track: You're going to London to record with a big time producer! That'll do the trick. And what did Starcastle manage to come up with? A prog album! Oh for crying out loud, says the record company.

It's definitely more of a sincere attempt at AOR friendly music than prior. And in this case there's less Yes, and far more fellow regional Midwest superstars Styx into the mix this time. The obvious pandering for hits such as 'Can't Think Twice' and 'Could This Be Love' are pathetic and demonstrate what happens when you record something that just isn't you. But the rest isn't that far removed from Fountains of Light or the debut. Even in short compositional form, Starcastle puts in plenty of thought provoking ideas. Because that's who they are. While Citadel is the 3rd best of a three album run, it's still quite excellent and closes the book on one of America's best - and most derided - progressive rock bands.

After this, Starcastle finally gave in and produced for the record company a real pop rock album. All their fans left, sales plummeted, and Starcastle were no more. That's a lesson in life for all: NEVER give in to the masses. They don't care about you, so don't care about them. Do what you do, and if they appreciate, consider it a blessing and stay true to your integrity.

Ownership: LP: 1977 Epic. Single sleeve with awesome artwork. Found for a $1 at an estate sale (2022).

LP: 1977 Epic. Pic Disc. Trade credit from a local store (2021). Definitely for show, that's for sure. I mean honestly, if Epic were really serious about Starcastle being a commercial rock act, they really should have gone with different artwork. It screams prog. And 42 years later, thank goodness they did what they did. But at the time, who knows what they were thinking.

CD: 2009 Rock Candy (UK). Jewel case. Fantastic reissue. Full historical essay, interviews with the band, and great sound. Still no bonus tracks though. 

Probably will keep all 3 copies and likely display the pic disc somewhere. I consider the CD as the primary copy though.

12/14/19 (new entry); 5/2/21 (pic disc); 7/30/22 (LP)

July. 1968 England

July's sole album is so quintessentially psychedelic England, they should have considered using the Union Jack as the album cover. Seamlessly mixing pop and psychedelic, with those distinct accented and treated vocals, there's just no other time and place it could have come from. Barrett-era Pink Floyd comes to mind almost immediately. Though the real guidepost here could be the more obscure Pussy Plays, though July falls short of the intensity and rigor of arguably England best 60s album. There are many other references of course, from brand names like The Beatles and The Moody Blues to a host of lesser known groups. The songwriting here is top notch, with memorable tunes long after the music stopped, as well as superb period instrumentation. July are best known as the precursor to none other than Jade Warrior, and one can hear the creativity rising even at this early stage. One wonders had the band veered in the same direction as Pink Floyd, what treasures could have been left behind. Though Jade Warrior is certainly a great door prize.

Ownership: CD: 2005 Air Mail (Japan). The Air Mail CD replicates the mighty fine single sleeve psychedelic cover. According to the insert, the album was remastered for this release alone. It also comes with the 'Hello Who's There' 45 single as a bonus. The A namesake side is rather trite and is everything that is not on the LP (fortunately). The B side is an extended and freakier version of 'The Way' thus placing this 45 on many a want list as well.

Starcastle - Fountains of Light. 1977 USA

For their debut album, I ranted on about the irritating notion that Starcastle are nothing more than Yes clones. There are so many other parameters at play, that no, it's simply not true. Influenced? Of course. Clone? No. So I won't revisit that topic again here.

For Starcastle's followup we see the band starting to make a conscious move toward more user friendly music. It was after all the expectation of the day - and the label wanted to maximize their profits by capitalizing on the surprise success of their debut. But in the end, Starcastle barely changed at all. Perhaps a trim here and there, but there's no denying this as anything but complex progressive rock - in bite size chunks. If we are to make the inevitable Yes comparison, then we must do so considering the short form progressive rock composition. Yes themselves just started doing that as well in 1977, and when we put up Fountains of Light and Citadel against Going for the One and Tormato, Starcastle comes away as the clear front runner. In fact, were it not for the crowd favorite epic 'Awaken' on Going for the One, then there would be no debate at all - but that was Yes doing what they did best - the long form.

It's a pity that Starcastle carry the Yes clone stigma. I fear that many do miss out on the joy of the music itself. If you find yourself as that person, give them another shot with a different filter. You may come away surprised.

LP: 1977 Epic
CD: 2010 Rock Candy (UK)
CD: 1998 Renaissance

Originals are very easy to find - so much so that the only real issue is can you find a perfect mint copy, maybe even sealed! Cool Ayn Rand inspired cover too. The Rock Candy reissue is really great, with a full historical essay and interviews with the band. It really does fill in the blanks of what I'd been saying for years about the band and their place in history. Great sound too. No bonus tracks though.

Grail. 1971 England

There were many bands like Grail in the 1970 English landscape. Mixing hard rock with other influences, in this case folk and raga, was all the rage. For whatever reason none of the labels in England were excited about the band, despite having marquee name Rod Stewart producing. Eventually the album found its way to Germany and France, but by the time of release in 1971, Grail were no more. There are some excellent riffs here offset by flute and most notably sitar. It's a slightly unusual blend on a typical recipe. Were it on Vertigo - precisely the place it should have been - the album today would be something of a... well you know....Grail.

LP: 2000 Second Battle (Germany)

Both German (Metronome) and French (Barclay) originals are very scarce. Each features a different cover, and the Barclay release tried their best at exploiting Rod Stewart's name. To date, the album has been poorly served in the reissue market. Only Second Battle reissued it, and without much supporting documentation. The LP is really an afterthought, seemingly appeasing a very small (back then) LP buying public. How times have changed in 20 short years. It's pretty much a brick and that's it, thus assuring postage will cost more from Europe. There's no info or anything else. Despite claiming license from Metronome they used the French cover? They could have done better. Grail seems like the type of band (and album) that could use the proper care from a Rise Above or Esoteric - or the German labels like Garden of Delights or Long Hair.

Sammal ~ Finland

Suuliekki (2018)

Suuliekki is the 3rd album from the contemporary group Sammal, and in principle they might as well be from 1972. I've written about Sammal in the past, and along with Malady, they represent Finland proudly in the retro prog sweepstakes. Sammal are in the reproduction business, so anyone looking for new, modern, and cutting edge music, will have to look elsewhere. The band have completely immersed themselves into the mindset and culture of 1970 to 1975 Finland, and given that backdrop, continue to create new music within those confines. It's like a movie that's based on an historical event, and then the writers craft their own story within that event. All the tracks are sung in the native Finnish tongue, adding a very important - and much welcomed - authentic ingredient to the stew. As with all bands from Finland during that era, there are no sweeping prog epics, but rather a concise set of tunes, nothing clearing the 8 minute mark - and most shorter than that. If you're the type who cannot get enough of that fat analog production sound, along with the vintage keyboard setup, then Sammal are a band you'll want to add to your purchase stack. All 3 albums to date have proven to be satisfying, perhaps Suuliekki being the best yet. Sammal are for fans of the classic Finnish progressive rock sound such as Tasavallan Presidentti, Tabula Rasa, Nimbus, Fantasia, and Haikara.

Ownership: 2018 Svart (CD). Papersleeve gatefold. Disc face emulates the classic Brain logo font (in blue though, verse green). Booklet with band photos and lyrics. Lyrics in both native Finnish and translated English so most of us can know what they're singing about.

12/9/19 (acquired / review)

Sammal (2013)

I first heard Sammal via their second album Myrskyvaroitus. My review there can easily be transported here. It's the re-creation of Finland 1972, complete with lyrics sung in the native tongue, which is essential for the authentic experience. Perhaps a bit more blues based than the follow up, but very much in line with bands from the past like Kalevala, Elonkorjuu, and Tasavallan Presidentti. Retro prog heaven.

Ownership: 2013 Svart (CD)

12/04/16 (acquired / review)

Myrskyvaroitus (2015)

Sammal are yet another modern "proto-prog" Scandinavian group to reach back to the glory years of 1970 to 1974 for inspiration. The instrumentation is entirely analog, as are the production techniques. We recently featured another such group from Finland - Malady - and the results here on Sammal's second album are very similar. The indigenous tongue is also quite important for the overall product to be successful. For us Americans, who almost have no chance of understanding Finnish (or even figuring it out), we'll miss out on the meaning, but the sound of the language is integral to the presentation, and quite enjoyable to the ears. The end result is something akin to a Finnish Uriah Heep, circa 1972. It's a familiar recipe with a unique preparation. So if bands like Kalevala, Nimbus, and Haikara put a smile on your face, so shall Sammal.

Ownership: 2015 Svart (CD). Papersleeve gatefold. Booklet with lyrics in Finnish and English.

5/20/16 (acquired / review); 10/18/25

5/20/16 (new entry)

Group 1850 - Live. 1969 Netherlands

By all accounts it looked like 1975 was to be a revival year for Group 1850. They reissued their most famous single in 'Mother No-Head', and they released their first studio album in 6 years with Polyandri. In addition to that, to set the context of who Group 1850 even was, they issued this archival album of 1969 live recordings, arguably at the height of their creative powers. As with any live Group 1850 setting, the focus is more on improvisational jams than simple recreations of past material, thus making the recording essential listening for fans. The highlight here for certain is the lengthy 'Between 18 and 50 Part VII' which captures the band at their freaky best. The final track 'Verandering (Change)' is yet another Peter Sjardin solo effort on his homemade Organiser. It is said this was a home recording tacked on to the end of this Live album. It's this recording that lends credence to the fact that Sjardin's solo album Changes may have been recorded as early as 1969. If it's true, Sjardin was considerably ahead of the pack - as usual. He took the spacey aspects of Pink Floyd's 'Saucerful of Secrets' to its logical extreme - long before anyone else. Overall though, the sound quality itself isn't great - but good enough for an archival album. In a later era, these would have made excellent bonus tracks to any CD reissue. As a standalone LP, it is debatable if it's worth owning by itself.

CD: 2019 Pseudonym

Part of the Purple Sky box set. As a bonus, there are also a couple of classic Paradise Now era tracks recorded from a 1973 concert, one of the dormant years of Group 1850. Both are well recorded and makes one pine for a full concert from this era of the band.

Group 1850 - Live on Tour. 1976 Netherlands

Live on Tour represents the last known recordings of the Dutch pioneering progressive rock ensemble Group 1850. The album is presented as a 5 course meal, though the opening serving does not indicate what is in store for the rest of the dining experience. 'Aperitive' is a solo piece by Peter Sjardin on his Organiser - sounding pretty similar to Sjardin's Changes album that we just spoke about. From there we find Group 1850 in a loose jammy mood. Mostly psychedelic influenced jazzy prog with a bit of a funky feel. This album proved once and for all that Group 1850 had no intention of ever selling out or trying to be relevant. Almost no one was doing music like this at such a late date, especially one with name recognition. They were pioneers at the beginning and they seemed to be on the distant and lonesome trail at the end. Clearly this is not the place to start your Group 1850 exploration. By itself, Live on Tour is a relatively harmless instrumental rock album. In context of the band's history, however, it becomes yet one more essential listen.

CD: 2019 Pseudonym

Part of the Purple Sky box set. Both of Group 1850's live albums were the only albums left from their discography to not have been reissued legally until this set came along. In addition to the full album, they also appended 3 previously unreleased jams from the 1975 tour: 'Friday I'm Free', 'Purple Sky', and '?!'. These three tracks are arguably the greatest songs in their entire canon, so a nice selection for bonus.

Os Mundi - 43 Minuten. 1972 Germany

43 Minuten is the followup album to Os Mundi's debut Latin Mass. There's really nothing to tie these albums together beyond personnel. While the debut took the Electric Prunes styled rockin' church mass to its logical extreme, 43 Minuten was more in line with the Krautrock movement going on in 1972. In fact, one could easily see this album as the successor to Nosferatu's debut, with its hard driving guitar, and flute/sax driven melodies. It possesses a similar high energy as well. Other guideposts would be the same era UK groups such as Raw Material, Aquila, and Diabolus. And the patented studio phasing of Conny Plank recalls Thirsty Moon's debut. In short, it's the perfect Krautrock stew. And while it's not one of the more memorable albums of the scene, on repeated listens it clearly goes into the indispensable category, especially for hardcore Krautrock fans of the 1972 variety.

Ownership: LP: 1972 Brain; CD: 1998 Repertoire. Scored the original gatefold about a decade ago and have upgraded it since. The Repertoire CD is really great, with a lengthy history in both German and English, plus the original gatefold inner reproduced. They even emulated the original green label on the disc face (minus Metronome...).

Peter Sjardin - Changes. Netherlands

Group 1850's founder Peter Sjardin released this one album - or tried to anyway - back in 1982, and it couldn't be any more out of time and place if it tried. More on that below. Musically it could be considered an extension of the '?!' track from Paradise Now. Imagine the keyboard work (Sjardin's homemade Organiser) but without a rock band supporting it. Nor much in the way of melody. It's a very experimental work, for fans of hardcore electronic music. Like Klaus Schulze's Irrlicht if looking for comparison. Not an easy listen, but once again demonstrates the forward looking disposition Sjardin always maintained.

As for the date of the recording, it's anyone's guess really. The liner notes from Group 1850's Purple Sky box set states "were said to be made at Sjardin's home in The Hague 1969", which means they don't know for sure, but that's the prevailing theory. For years it was presumed to be from 1978 - and while it doesn't sound modern in the 1978 sense, given that it was Sjardin's own keyboard creation, it's not a stretch to believe either. There's plenty of albums from the late 70s that used primitive electronics. Sjardin himself was mentally far gone in his last 30 years, and now he's no longer alive, so the secret may have gone to the grave with him.

CD: 2019 Pseudonym

Part of the Purple Sky box set. Apparently this was set for release in 1982 by the Universe label, despite its very non-commercial nature by that late date. It's said that only 25 test pressings were made. Given the sheer lack of available product (never once been auctioned on ebay, one total ownership on Discogs), it's a believable number.

Firyuza. 1979 Turkmenistan

Way back in the mid 1990s I used to joke that if the album was from Turkmenistan, it had to be good! Of course I was talking about the Gunesh Ensemble. At the time, most of the planet was not aware that another progressive oriented group existed from the same place and era. Turkmenistan, to this day, is pretty much isolated from music such as this.

Now that we have proper reissues, the band's history comes to the fore. And sure enough, band leader Dmitry Sablin was once a member of Gunesh going back as far as the late 1960s! And the backstory of the foundations of Gunesh and Firyuza is fascinating. We forget now that Iran was once a staunch ally of the United States. So it was for most of the 1970s that the American military had bases throughout the country. And... Iran borders Turkmenistan. It was via the American Military radio coming from Iran that many in Turkmenistan heard the sounds of jazz and rock for the first time. They would record these shows and pass reels to each other - a great secret. Subversive youth exists everywhere! Governments never want to admit this fact of human nature. Firyuza, by the way, is a small picturesque village in Turkmenistan.

The album itself is unique, but not overtly so. There are moments that recall the high energy of Gunesh. But there's also long flights of spaced out fusion. The compositions are unique in the way they develop - seemingly without purpose - but this is where the allure lies. It's all a bit foreign to Western ears, but wonderfully so. And with a full 7 piece band, the palette is multi-dimensional. A must listen.

Ownership: LP: 2019 Soviet Grail. Single sleeve. Comes with a multi page insert with a full history.

CD: 2019 Soviet Grail. Jewel case. Same as above.

Firyuza is the rarest progressive rock album from the former USSR. I had wondered why for years, since Gunesh's second album (not first - it too is rare) was available in the West (perhaps not legally, but relatively easy to get). Now we know why. Unlike Gunesh's second album, which was pressed throughout the empire, Firyuza was strictly pressed and released to the local market. How many copies is anyone's guess, but certainly not too many. And who knows how many still exist. Record collecting in the 1970s was not likely a thing in Turkmenistan.

When Boheme Music (Russia) reissued the USSR progressive rock classics in the late 90s and early 00's, Firyuza seemed to be a glaring miss. But it's very possible that the master tapes did not (or do not) reside at the main Melodiya offices in Moscow or Saint Petersburg.

Enter 2019, and the superbly named Soviet Grail. Apparently the label spent a number of years cobbling this reissue together. And it required "real detective work". I can imagine. Both the CD and LP reissues feature an excellent essay/history of the band, with a couple of rare photos. There are no bonus tracks. Which makes sense when you realize how difficult it was for the band to even record this - basically on their own dime. A dime they did not have. Were it not for charitable volunteers, it's likely the recording would never have happened.

9//08; 8/11/10 (CDRWL); 12/1/19 (new entry)

Dave Gryder - Panacea. 2018 USA-Texas

As I've mentioned in prior reviews, Dave Gryder is an unreconstructed 1970s aficionado. All of his projects have their roots in that most crazy decade, whether it be Covenant (prog), Storm at Sunrise (proggy hard rock), Blood of the Sun (hard rock), Dave Gryder Band (jazz funk), and now just his name (jazz fusion). Panacea would also have to be considered his most obscure work to date, originally released on CD-R, and now factory pressed to CD in 2019. It appears Panacea is Gryder's homage to the 70s fusion label rosters of Inner City and CTI. It's mostly a solo effort, but given that Gryder is both a drummer and keyboardist, and that he has an arsenal of vintage keys at his disposal, it comes across more as a full band effort. In addition, there are guitar "solo" guests for 4 of the 7 tracks presented.

As with all of Gryder's projects, he has a knack for distilling the best a genre has to offer, and leaves out the chaff. And Panacea is no exception. It's mostly a high energy spirited affair, with great melodies, and complex rhythms. It's not unusual for Gryder to pepper all his recordings with copious amounts of progressive rock, and Panacea is, once again, no exception. It is the keyboards, as mentioned above, that separates Panacea from the garden variety 1976 Inner City recording. There's the usual suspects: Hammond, Rhodes, Clavinet, and Mini Moog. And then there's the differentiators: Mellotron (not a common instrument in fusion, and it's all over this recording) and something he calls Keyboard Violin. In history, there is the concept of a Viola Organista and in modern times a close proximity to Leonardo Da Vinci's design is called a Wheelharp. Or it could be a synth patch. Whatever the mechanism is, one has to agree it does a very nice job of emulating the sounds of a violin. It is one of the key melody instruments used on Panacea.

If any of this reads well to you, then the album is likely to please on many levels. If it really were released in the mid 70s, the album today would be considered a classic. Definitely recommended!

CD: 2019 private. Comes in a jewel case with a single slip card detailing the instrumentation and personnel. There's an LP release as well.

12/1/19 (first listen/review/new entry)

Finisterre Project - Höstsonaten. 1997 Italy

Höstsonaten's debut was in reality the title of the album. Originally billed as Finisterre Project, it appears this was to be a one time effort, focusing on Finisterre band leader Fabio Zuffanti's romantic side. It's mostly a pastoral affair, and in some ways this is Zuffanti's homage to the 70s Italian progressive rock classic by Celeste, with flute and acoustic guitar to the fore. One will also hear contemporaries such as Sithonia here. Problem with these references is that Höstsonaten is an English language concern, and that's a drastic shift when comparing to anything from the Italian classic playbook, something Premiata Forneria Marconi proved when they went PFM. What begins to unfold is a distinctly Italian approach on a very English style - one that is not in a hurry, but remains interesting throughout. Mid 70s Pink Floyd is one such reference, and there are obvious Genesis nods as well - from a similar time frame. One does wish however for a bit more dynamism inside of these tracks. The namesake 41+ minute track has one such heavy sequence and it's quite brilliant given the setting, but it also sets an expectation that is never quite met again.

Overall a fine album, possibly the best of the Höstsonaten brand - but it doesn't realize the potential it portrays, and thus feels like a disappointment, even if it isn't one.

Former ownership: CD: 1997 Mellow. Jewel case. Foldout booklet that contains lyrics and photos.

5/30/97 (first listen); 6/17/13; 11/29/19 (review / new entry)

Embrace - Coven the Eternal. 1996 Canada

I love discovering albums such as Coven the Eternal. Especially these 1990s albums that were released to an audience of no one in particular. Completely under the radar, without hype or praise to be found anywhere. Embrace were a band from Canada who are ostensibly part of the doom metal genre. The music is primarily slow paced, with female vocals and even some atmospheric keyboards. And crunchy metal guitars of course. The cynic in me says that doom metal is a great entry point for those still learning to play their instruments. But it's this kind of amateurism where the allure lies. Especially in the composition department, as who the heck knows what they will come up with, even if it's within the tight confines of the genre. Embrace are sincere, but not overly earnest as some of the more unintentionally comical metal bands can be. Something to be proud of years later to share with your kids and grandkids (wow Mommy was a total subversive!). There's nothing here that screams must own, but if it happens to waft by on some random sale list, grab it - especially if bands such as Saint Vitus and Candlemass are to your taste.

CD: 1996 private

Yes - it's as private as it gets too. Total independent spirit. Not even in RYM as I write this.

Arch / Matheos - Winter Ethereal. 2019 USA

One of the most exciting concepts on the theory of a multiverse is the idea of parallel lives in different worlds. John Arch and Jim Matheos give us one example of that - in a single universe. When John Arch left Fates Warning in 1987, the band chose Ray Alder as their front man and continued on their path, that continues to this day (very successfully I might add). Fast forward to 2003 and Arch and Matheos reunite again. Then in 2011 the partnership grew into an operational recording, though not touring, concern. It's remarkable how much this duo have been able to maintain the Awaken the Guardian sound, but pushed forward to our current day. It's as if Matheos has successfully been able to alter one path of his life in a delayed fashion.

Well there's really not that much else to say here. I've always enjoyed Fates Warning's rough-around-the-edges approach, as compared to the Berklee trained Dream Theater school. So if you are a fan of the classic early Fates Warning composition - and vocal - style, and are curious where it could have ended up - you have your answer here (and with 2011's Sympathetic Resonance, which is arguably even better).

CD: 2019 Metal Blade

CD comes in a fine digipak with a full booklet that contains lyrics and photos.

Spring + Spring 2. 1971 England

If there was ever an album that confused me on what the term "progressive rock" meant, it had to be Spring's sole effort (sans later bootlegs of course). What do I mean by that? Ah yes, quick context setting for those reading this. In the 1980s, as a young lad hungry to hear everything that was labeled with the almighty "progressive" tag, I can assure you that Spring was very much at the top of every catalog writers' best-of lists. THREE MELLOTRONS!! TRIPLE FOLD OUT COVER! LONG TRACKS! My imagination went wild. Then I got hold of some crappy bootleg LP that I no doubt paid way too much for (even then, originals were way beyond my pauper budget). You won't see that boot LP listed in too many places (good!) but it came out in the late 80s. Dull single sleeve. Dull vinyl. Dull music. Well... that's how I heard it anyway. Bootlegs are never a good way to learn about an album (lesson learned for a young Genius Hand), but this one even went beyond the sloppy sonics. As in - exactly what is "progressive" about this? My cynical nature was coming to the fore - more like 3 people who play the mellotron - not 3 mellotrons (which is probably a true observation actually*). Big deal! Not a time signature change in sight. Whoopdee-doo. *- in fact, as the Esoteric CD liner notes point out, my observation was indeed correct.

So what changed? Me, of course. Years of spending time with the original late 60s / early 70's progressive movement has provided me with the right context for which this album had originally come from. Now I hear something that was considered progressive in 1971, but maybe not what the term meant to me by 1988. Spring features some fine songwriting, and wonderful textures (mellotron of course, but even the fuzz guitar and organ too). Even Pat Moran's infamous nasal vocals sound good to me now! If you're a fan of the Dawn / Neon / Transatlantic / Deram branch of early 70s English progressive rock, then no doubt Spring will be a welcome addition.

As it turns out, that is not the end of the Spring story. The archival second album from Spring is not well understood. Its very existence in the marketplace for many years was in the sole possession of pirates, and thus few knew the story, or heard the album properly. As one will find out seeking this album, all of the first releases are nonsense, lining the pockets of those who see no particularly good reason to pay licensing fees and royalties.

Finally in 2015, the good folks at Esoteric released the album in full, as a bonus album to the debut - the perfect way for tapes such as these to be issued. It is now with the story in hand, that we learn why Spring 2 sounds the way it does. In effect, the group was looking to move towards jazz rock, though there was resistance from within. In particular, guitarist Ray Martinez wanted to maintain the progressive rock course they had started along. As is usually the case with innovative bands in the early 70s, their recorded output translated well with critics, but not with buyers. All of this lead to frustration and conflict - and Spring had sprung.

These recordings - also from 1971 - demonstrated where the band was headed. To my ears, the group's sound actually sounds older here, something akin to a 1969 or 70 jazz rock sound. The mellotron has been diminished considerably and the organ is pushed up front. I find it just as enjoyable as the debut, though admittedly they do sound almost like two different bands. There's a bit more pop sensibility this time around as well, and Spring proved to be adept at that as well.

The songs presented here are of variable sound quality, as they were culled from different sources. Some no doubt from the very bootlegs listed here. It's worth noting that save 'Hendre Mews', all the track names are slightly different to what was previously understood to be the case.

Ownership: LP: 1971 Neon. Incredible triple fold out cover. Online acquisition (2024).

CD: 2015 Esoteric. Jewel case. Full set of historical liners.

I started in the 80s with a (gasp) bootleg LP and didn't like the music - at all. I tried again with the Laser's Edge CD in 1992 and sold it quickly as well. With the attainment of the original LP, I'm letting go of the Akarma triple FOC reissue.

1988 (first listen); 1992; 9/18/13; 11/28/19 (review/new entry)

Collegium Musicum - Collegium Musicum + Konvergencie. 1971 Slovakia

Collegium Musicum were from the former Czechoslovakia - now Slovakia - and were one of the earliest adopters of progressive rock in the region. Though from behind the Iron Curtain, where experimentalism was often discouraged, Collegium Musicum turned out to be one of the more wigged out acts from anywhere, anytime. You'll often read the band being compared to groups such as The Nice and Ekseption, but I'm not quite sure which albums by these bands they are hearing. Yes - of course - rocking the classics is more or less the basis for the group's compositions. But it's hardly cuddle up to the winter fire classical music. This is Shostakovich in a bad mood accelerated to 1970.

The debut is certainly the more predictable of the two albums, and can be a bit trite in places. But it's still radical with its long form jamming. Konvergencie is where the band releases the horses from the barn. Here's where the group recalls western European contemporaries such as Trikolon or Elluffant. And in more modern times, the band Steamboat Switzerland seemed to borrow the blueprint from this very album.

The 2 CD set from parent label Opus also includes the bands first single (which is 14 minutes in length (!)) 'Hommage à J. S. Bach' is a good representative of the debut album, whereas 'Ulica plná plášťov do dažďa' is arguably the best composition of the entire set. Here Collegium Musicum demonstrates their ability to be a more compact prog rock band.

Not an easy listen, and not always satisfying, but from an historical perspective it's quite extraordinary.

Ownership: CD: 1992 Opus. Purchased online in the late 90s. Great 2 CD set that includes all of their first 2 albums plus the aforementioned single. One interesting tidbit about the cover (shown): Note the cigarette - which is not found on the original.

11/28/19 (new entry)

Splash 2. 1978 Sweden

On Splash 2 (oddly named given it's their 3rd full length album), the Swedish band have moved from standard pop rock structures to an improvisational jazz rock unit. I hesitate to use the word "fusion" here, as they clearly weren't emulating the usual suspects like Return to Forever or Weather Report. And at times they have that college level stage band type tightness. There's also a little bit of silliness calling out their Zappa influence (not to mention some fine guitar soloing). And even a little dancing around the barn music to open the album. An intriguing album, but a step down from their second album.

CD: 2019 box set released by the band.

The two bonus tracks here (totaling about 12 minutes) are excellent.

Splash - Ut på Vischan! / Back to Nature. 1972 Sweden

Splash started their career quite a bit differently than how they finished. On their debut, Ut På Vischan, one will hear a typical horn rock album very much modeled after Chicago or Blood, Sweat and Tears. Except it's sung in Swedish (always a favorite language here). Like most horn rock albums, there are some great instrumental charts offset by some more standard songcraft. Not one of the best horn rock albums you'll ever hear, but a very good entry all the same, and it sports a great cover as well.

Ah... but as we learn from the CD reissue box set, Ut på Vischan! was originally to be an English language album. And that would be Back to Nature. The music is very similar, not an exact copy, but this time sung in the language of the common music industry. Not sure why the change of heart at the end, perhaps Polydor knew the album wouldn't stretch beyond the local shores. Whatever the case, a great archival discovery for fans of the band.

CD: 2018 private

Harmonium ~ Canada

Les Cinq Saisons (1975)

Harmonium's second work is quite simply one of the most beautiful albums ever made. Though almost entirely acoustic, save some electric bass and mellotron, it never occurs to me to label this album anything but progressive rock. One would presume it to be part of the multiple folk genres out there, and yet the compositions are complex and they unravel similar to our favorite bands in the progressive genre. As most folks will point out, the only blemish is the short 'Dixie'. It's not a bad track at all honestly, but it doesn't fit the mood of the album. One listen to the opus 'Histoires sans Paroles' should hook you on Les Cinq Saisons for life.

You would be hard pressed to find an album that better represents the contents within than the gorgeous gatefold of Les Cing Saisons. It was also a tremendously popular album in Quebec, so originals are still affordable to this day. As such, if you are looking to build out an original progressive rock LP collection, this should be one of your first purchases. 

Ownership: 

1975 Celebration (LP). Gatefold. Fold out lyric insert. Really a great package overall. 

1991 Polydor (CD)

1//88 (acquired); 10/11/19 (review)

Also own and need to review L'Heptade.

10/11/19 (new entry)

Splash - 1970-1979 | Samtliga Inspelningar. Sweden

2019 has proven to be quite the year for CD collectors. Not so much in quantity, but rather quality. It's ironic in that everyone it seems has moved back to the LP. Yet arguably the greatest CD package of them all was released this year - at least for my tastes - and that was the Tangerine Dream In Search of Hades box. At some point I'll get some words down about it here, but I'm sure most of you had already heard about it. We've also had the incredibly great box set from Group 1850 - Purple Sky (something they should have done years ago, but OK, they did it now and I love it). And some real obscuros came out this year like Firyuza, Atila - Reviure, some of the Lloyd McNeill's, the Tom Nehls, Grodeck Whipperjenny, the list goes on. Yea, it's not 2005, but are we seeing the roots of the CD renaissance that I'm certain will happen at some point? As you all know, I love collecting original LPs through the 1980s - that won't change, but I never did jump on the LP-only bandwagon. For modern releases and reissues - I want CDs! And I know many others out there who agree with me.

All of that prelude leads me to this most magnificent box set - released completely under the radar. I received a tip from an Italian friend on RYM, and now that I have it in my possession, I can only say WOW! The fact this was put together by one of the members of the band, is really quite extraordinary. Because it seems like something a major label would put out. I had a chance to hear the second album last night, mainly because it's the album I'm most familiar with, and we've written about it here on UMR. The sound is absolutely fantastic, and I cannot wait to hear the rest!

So what's in the box - well pretty much what you see in the photos, but I'll elaborate a bit.

Disc 1 has their first album Ut På Vischan.  Ah, but it turns out the original LP was supposed to be issued in English and the recording still exists! So Disc 1 actually opens up with Back to Nature, a complete first album in English. Judging by track times, it appears the two will be pretty similar (not exact), but with different languages. I'm personally glad they went forward with the Swedish version initially (which is also here of course), but it's great to have the original intended English version now too. (Update: Ut På Vischan! is taken from vinyl with light background noise. Guessing the masters were lost, and this is the best copy they could find. The English version is taken from a master tape the band had).

Disc 2 features their entire second album plus one single that was originally released in 1974 (quite good I might add).

Disc 3 features their 3rd and final album Splash 2 (still not sure about why this is the title, more on that below). There's also two bonus tracks, of which I'm not quite sure of their origin. One indicates possibly a 2015 recording and the other 1974.

Disc 4 and beyond is all bonus material. For the 4th disc you get their 1973 released single, 4 unreleased tracks from 1973 and 1974. AND a full radio show from 1975.

Disc 5 has two back to back live shows from 1975.

I have yet to hear these, so cannot comment on the sound quality. Though I'm guessing they are pretty good, because then comes...

Disc 6 which is for your computer. Here is where they placed their first 1972 single (probably from vinyl then?) along with two more full live concerts (1973 and 1976 respectively).

Holy moly, that's a lot of Splash! The "clamshell" box is awesome and they were wise to use the excellent second album painting (which I also feature on my LP wall at home). The booklet is superb with extensive liner notes and vintage photos. Plenty of detailed track information. Now most of the booklet is in Swedish, but there is an annotated English section as well. It would be really great to get the Swedish notes translated, as I suspect some of my questions are answered there. If anyone wants to do that, I will publish them here for perpetuity.

If you are interested in obtaining this box set, I can put you in touch with Thomas. I'd rather not drop his e-mail here. Just follow the Purple Peak Records tag below to the contact e-mail page, to get in touch with me. Or drop me a note on RYM via my Ashratom page. The cost is very reasonable considering it includes postage. There's one for sale over at Discogs now (some kind soul added the entry just a few days ago) - but the direct cost will be cheaper than that one.