T.N.T.H. - Let's Go Children of the Country. 1971 France

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 for me anyway. As for the other tracks, they too are excellent, more song based (with occasional vocals) than the bookends. A great album as far as I'm concerned.

Ownership: LP: 1971 Barclay. Recent online purchase. Not been reissued as I write this, though originals aren't terribly expensive. There is at least one bootleg LP roaming about.

12/25/19 (new entry)

Gabor Szabo - Nightflight. 1976 Hungary

I don't know a lot about Szabo's discography, but I found Nightflight to be very engaging. Everything about it screams the era from which it came. Had I not known better, I would have presumed the album to have come from France, as the sound here isn't that far removed from some of the artists you'd find on the Cobra label for example. In some ways, it's a bit too pre-packaged. The occasional strings and disco beat only underscore this point. On other tracks, one will hear a heavy funky racket in the background, with wah-wah guitars and tribal rhythms. Enter in Gabor Szabo, who then proceeds to jam over what appears to be backing tracks. His tone is that of a lightly amplified electric guitar, and sporadic acoustic guitar. Some of his solos are sublime, while others don't belong at all, adding to the strange vibe. And Szabo sings too - at least I think it's him - in the grand ill advised tradition of other jazz fusion artists like Tony Williams and Al Di Meola. Still, the compositions are well written, and the melodies stick out in a good way. I can live without 'Funny Face' and 'Theme for Gabor', but the other five tracks are super.

Overall the album captures the optimism of mid to late 70s Paris. Richard Pinhas would later also celebrate jet-setting across the pond, except his vision turned Szabo's upside down into a nightmarish fiery inferno.

Ownership: LP: 1976 Mercury. Single sleeve. The inner sleeve has an advert for the Mercury stock of artists, in addition to a rant on the "dangers of home taping". Part of a collection buy (2019).

12/22/19 (first listen / 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 - Valle del Pas. 1978 Spain

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: LP: 1978 Movieplay. Gatefold. As noted on other entries, this was purchased at VVV in 1988, and remains a treasure of the collection.  

CD: 2006 Fonomusic. Digipak. Online acquisition (2019).

1//88 (first listen); 12/20/19 (review/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!

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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.

Aliens Psychos & Wild Things Volume Fore. USA

Aliens Psychos & Wild Things Volume Fore is a bit different than some of the other fuzz blaster 45 comps I've written about recently. For this selection, we start in the mid 60s. Mostly these are forward looking garage bands with some guitar bite. By the time we get to the 1967 acts, the garage goes full-on psychedelic. As with every comp I purchase, there's that one single I heard on YouTube and then begin to look for availability on CD. In this case, the bait was Sound Expedition's 'Ultimate Power', a single I wrote about somewhere in here. That lead me to this comp, and the reviews from reliable like-minded collectors encouraged me to buy it.

As I do with all these comps, I research each 45 as I hear them. And once again, the obscurity level on these is incredibly high. There's also some unreleased material here, primarily at the early stages. One interesting notable - there's a band here called Groop Therapy (incidentally that's who is on the front cover - a bit reminiscent of the B-52's). And I swear they sound like a proto Stereolab. And as we know, Stereolab often referred to themselves as The Groop. Did they know about this ridiculously obscure band? Noooo. Well maybe?

One other interesting tidbit is that many of these bands are from the American southeast, Virginia in particular. Not the first region folks go looking for psychedelic music, but proved once again, that the whole country was turned on in the late 60s, and unfortunately those that controlled all missed it.

CD: 2007 Arcania

Another super compilation with full band histories on most the groups presented. And with a touch of humor as well. Also worth stating that the sound quality here is better than the usual scratchy copies that often make up these kind of comps.

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 - Suuliekki. 2018 Finland

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.

CD: 2018 Svart. The CD comes in what I'd refer to as a cross between a a mini-LP and a digi-pak. It has the feel of the latter, and the size and layout of the former. Love the disc face, where Svart emulates the classic Brain logo font (in blue though, verse green). There's also a full booklet with band photos and lyrics. And yes, both in the native Finnish and translated English so most of us can know what they're singing about.

12/9/19 (new entry)

IQ - Resistance. 2019 England

I've written extensively about IQ in the past, and Resistance fits their current pattern perfectly. Following on their 5 year new album release schedule, going back to 2000 (allowing that Seventh House to Dark Matter was 4 years, close enough), Resistance is yet another tour de force from the best operating band of the original New Wave of British Progressive Rock movement. And this time, we have a static lineup. 80% of the original band is sticking with it, and Neil Durant seems to be the answer at the keyboard set. As with their other recent albums, gone are all traces of attempts at pop stardom. With Resistance you get close to 2 hours of hardcore progressive rock. With most bands, anything more than 50 minutes seems like a slog, but with IQ the time moves swiftly. Those 5 years of interim between recordings are not to put waste. All the tracks are well crafted, and it's clear that multiple listens will reveal more each time. I've only listened to disc 1 twice and disc 2 once, but like all of their catalog, I know revisits will be rewarding. As I've said before, there's probably not too many people who are new to IQ - and maybe less to prog rock in general - but one could do far worse than starting right here with Resistance as a great place to begin your collection. The album is a great ambassador for the progressive rock style - all that is excellent about it, while leaving off the more derided aspects of the genre.

As I've also mentioned in the past, IQ is often at their best in foot-stompin'-hard-rockin' anthem mode. IQ knows this by now too, so no point in making anyone wait as opener 'A Missile' is just that. A hard rocking missile that is. Most of disc 1 is a spirited affair, mixing in complex charts with memorable tunes. Disc 2 is geared toward their epic progressive side, something they don't always focus on. I would argue Resistance is their most progressive outing yet, if I can use the word progressive in the sound-of-an-era sense verse true progression. 'The Great Spirit Way' has the type of changes and sound that we often associate with the Scandinavians like Wobbler or Anglagard.

IQ has spoiled us for 20 years straight now - and it's hard to choose what is their best work in this era (I'll always be partial to their original albums Tales from the Lush Attic and The Wake because of time and place) - but most certainly an argument can be made that Resistance is that album.

Thank you IQ for keeping the original early 80s progressive rock spirit alive. Perhaps we see you again in 2024?

CD: 2019 Giant Electric Pea. 2xCD housed in a tri-fold digipak. Booklet has full lyrics, credits, a band photo, and artwork.

12/8/19 (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)

Manilla Road - To Kill a King. 2017 USA-Kansas

I knew this was going to be a tough listen. I was all of 19 when I visited my favorite import/indie store in Dallas (Metamorphosis for those old-timers that were there). On the wall they were featuring a most fascinating looking new album. I'd never heard of the band, but it just looked so cool, I had to buy it. It was during the Christmas break from college... 1983. Yes, that album was Crystal Logic (still own that exact LP copy). And from that point forward Manilla Road were intertwined with various personal life events. I even went to band leader Mark Shelton's house in Wichita back in 1991. At the time, he was very excited about his new project Circus Maximus, something that didn't really take off, except for one album, released against his will as Manilla Road.

As is often the case, we all go in different directions. Shelton himself took close to a decade off from recording. My career and personal life took me away from being deeply immersed into the music world, moving more towards strictly a remote music collector. When Manilla Road resurfaced in 2001, I continued to follow the group and buy their albums, but not in the same fanatical way. No more contact, or seeing them live.

During this time, I watched with fascination as Manilla Road went from a barely known metal band that only a few of us knew, to that of true legend. It pleases me no end to see those much younger than I truly appreciate the music that Manilla Road has put out all these years. That legend will continue to grow, this I'm sure of.

To Kill a King will likely be the last Manilla Road album. It wouldn't make sense to maintain the brand, as Shelton was the brand. There was no opportunity for hand off, or to cultivate a successor. Mark Shelton's death came as a shock to us all. He didn't die early (relatively) the way many musicians unfortunately do via self-destructive behavior. Rather he went out the way true warriors do - in the middle of the battle. In effect he died of heat exhaustion, literally playing his heart out for his fans. It was a fitting way to go, though far too early for a man that seemed to never lose his way - where creativity continued to spring like a fountain.

The irony here is that To Kill a King was a look backward - to the very roots of Manilla Road. At the time when they were just as much a proggy hard rock band as anything heavy metal. One could easily hear To Kill a King as a lost album between Metal and Crystal Logic, with some excursions into more modern metal ('The Arena' in particular). To Kill a King is not Manilla Road's most exciting or innovative album, but it's great to hear a turn-back-the-clock album such as this. Perhaps Shelton subconsciously knew his fate, and wanted one last shot at an older style.

If you've never heard Manilla Road, and you're not really a metal fan (in the more modern sense), then To Kill a King would be a great way to immerse yourself into this most fascinating world. And then perhaps work your way through the catalog starting at Crystal Logic up to their masterpiece (IMO) The Deluge.

One fun fact for you: If you drive east on I-70 from Denver towards Kansas, there's an exit for a... Manilla Road. I've always wondered about that.

Now I'm afraid it's time to say goodbye, Mark Shelton. Thank you for everything.

CD: 2017 Golden Core (Germany). Tri-fold digipak with a booklet containing lyrics and photos. A very nice package overall.

11/30/19 (new entry)

For a Few Fuzz Guitars More. USA

This CD comes courtesy of RYM's own psychedelic collector guru Tymeshifter, who was kind enough to send me a copy after seeing my review of The Purple Sun track from another compilation. As someone who never bothered to collect 45s in their prime - and since I was a prog guy, it would have been odd to do so - these compilations have proven to be a goldmine of great music.

After some 20 years of dormant physical crate digging on my part (mostly sticking to the online world of ebay and the like), I attacked 2019 with fervor (primarily because my current job situation gives me more flexibility and time than in the past). And 45's have been the area where I've had the greatest finds - as well as the greatest disappointments. In terms of dollars that is. I'm way in the black on my investments, and yet 85% of what I've bought is still here awaiting to be sold. What is fun though is that you can buy 50 seven inches for $50, and walk away with $500, and still have 48 left to sell, most of them for 25 to 50 cents each - or just donate them back to the local thrift shop (where you were likely to have found them in the first place). A fascinating situation. And every day I learn of new rarities, especially in the soul, garage, reggae, and rockabilly fields. It's endless folks. For most of us anyway.

I bring this topic up here on the For a Few Fuzz Guitars More review, because it just underscores what an astounding collection Tymeshifter possesses. I could go the rest of my life searching only for rare psych and garage and maybe I'd turn up 5% of what he owns. Fortunately he's shared some of his rarest gems with all of us. Even though this was released 17 years ago, many of these 45s still remain complete unknowns.

There are 3 tracks here that I owned already (own = CD, not original!). The aforementioned Purple Sun is one of course. Peacepipe is another, as it is part of the Shadoks CD reissue from the same year (2002). I'll say this, any compilation that features 'The Sun Won't Shine Forever', that will be the best track on the album. It's one of those hair raising tracks we all live to hear. And finally the Sub track is on the Garden of Delights CD reissue (extended), as well as being part of the In Concert album itself. Sub also represents another exception here: It's the only non USA track to be featured (they're German).

As for the rest, they are remarkably consistent in their greatness. If you like the fuzzier spectrum of psychedelic music, like I do, then add this comp to your buy list. I researched each 45, and some of them are crazy obscure. The Dystraction, Sounds Synonymous, Super Band, Velvet Haze, Golden Grass, and White Lightnin' are just a few examples of this. The latter comes from nearby (to me) Pueblo (CO) so maybe I'll luck out and find that one someday. We can always hope that any of these bands have more music in a canister somewhere.

Ownership: CD: 2002 DMT. Gift as noted above. Jewel case release with scans of all the 45s contained within. 

11/30/19 (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.