Praise Space Electric - 2 Leaving Demons. 1994 England

2 Leaving Demons is the 3rd album from Praise Space Electric (counting the cassette release Dobedoo as the second), a band who were part of the UK Festival psych movement of the early 90s. The album starts off very strong in a strange jazzy organ, psychedelic guitar way. The first three tracks are great and then begins to break down a bit. Starting with '300,000 Million Years' the album becomes entirely too eclectic with disparate ideas that do not flow at all. Anywhere from The Beatles to techno / house music. Still the first five of six songs makes this one work.

Former ownership: CD: 1994 Delerium. Jewel case. Tri foldout booklet has photos and recording information.

2009 (first listen); 4/27/19 (review / new entry); 1/1/25

Olive - First Album. 1976? Japan

This album goes back to my CDRWL research days, but I never wrote about it (but did rate it) since I couldn't find any background data whatsoever. There were (and are) so many fake albums out there, it sometimes is very difficult to know what is real and what is not. I preferred to wait and see if more data would emerge. That day has come, some 8 years later, as the cd-r was randomly selected.

And really not much else has come to light. However, one copy did sell on Discogs (4 figures) in 2016, and excellent photos have been added. We now know the LP is titled First Album and it's on Studio-3 of Yokohama. I'll discuss this in further detail below.

As for the music, it's really quite an extraordinary album for the time and place. It doesn't really sound Japanese at all, though the soprano female vocals are indeed in the local language. The music is a type of hard rock psychedelia, that at times is very progressive. The lengthy tracks (the album is a super long 55 minutes - extraordinary for the 70s) allow for many ideas to come forth. The album opens with cello mellotron, making one think they may have stumbled onto some Anekdoten archival tapes (which, truth be told, made me a bit suspicious from the off - I mean who in mid 1970s Japan would have done that? Olive apparently...). The guitarist in particular shines throughout the album. Overall Olive reminds me of one of those crazy southeastern US hard rock / progressive bands that one might find on the Nasco label for example. Take away the vocals, and it's not hard to imagine these guys being from Tennessee or South Carolina. Bands like After All, Felt, Westfauster, and J Teil Band all came to mind here. I've been told that Carmen Maki & Oz has a similar sound, though I have to plead ignorance on that front. In sum, an excellent album that truly needs to be discovered, and is in dire need of a reissue.

As noted above, First Album is incredibly scarce and not much is known. One issue that remains is the date. It's generally accepted to be from 1976. But I'm not sure where that data comes from. It's not on the album itself. The label Studio-3 has a few other albums on Discogs as well, yet none claim a recording date (on the album covers or label). It's certainly believable to be from 1976, but I could also believe 1979 or 1980 as well, given the progressive rock oriented culture at the time in Japan. An internet search only propagates the 1976 date without corroborating data. Let's hope a reissue emerges in our lifetime. The album is too good to be only known to downloaders and YouTube seekers.

Dr. Dopo Jam - Cruisin' at Midnite. 1981 Denmark

Dr. Dopo Jam's final effort Cruisin' at Midnite is a surprisingly very good album for such a late date (and the "red flag" warning of the title). Some really strong guitar, flute, synth, violin soloing, and electric piano drives most of the songs. Plus plenty of nice horn charts, also out of its time. And considering Dr. Dopo Jam's heritage, the goofball quotient is mercifully down, though not completely wiped clean. There's also a funky edge present - similar to some of the late 70's Kraut Fusion groups like Aera or To Be maybe. More for fusion fans than prog I'd submit.

Ownership: LP: 1981 Dopo-Di-Doo-Platts. Single sleeve. Purchased online (2005). 

No reissues exist as of 6/11/24

2005; 4/25/19 (new entry); 2/24/21

Sensory System (System). 1974 Denmark

In Denmark, the band were known as Sensory System, but in Germany they maintained only the System moniker. Not sure why, but I'm guessing there's a story there somewhere. Like many Danish hard rockers, Sensory System had their basis in rural rock, and are not that far removed from Day of Phoenix, Culpepers Orchard, and Midnight Sun. System is certainly more straightforward than any of these groups, but does feature some fine guitar work throughout. The album also reminds me of the debut by Rush, oddly enough. 'Experience, My Teacher' is the highlight of the 8 tracks featured here.

Not reissued as I update this post.

Ownership: LP: 1974 Nova (Germany)

UMR's Kraut Fusion list has been published by It's Psychedelic Baby!

Many of you are most likely familiar with It's Psychedelic Baby!, a long running webzine that has interviewed - in depth - some of the most obscure (and well known) progressive and psychedelic bands of the past. It's a great resource that I constantly come across while doing my own research.

The gentleman behind the website recently reached out to me and asked if he could publish the Kraut Fusion list that I put up on RYM back in the summer of 2016. Of course I said yes. We tweaked the content and format a bit for better presentation, and now it's been published.

Have a look see!

Lodestar. 1979 USA-Ohio

Springfield, Ohio's Lodestar were typical of the era and location. Bad ass hard rock was the order of the day, with its loud guitar and AOR styled melodic anthem mentality. That which was predominantly played on the region's FM stations of the day. I'm pretty sure I heard cowbell (try the Shakespearean 'For the Want of a Woman' if you're not paying attention). This is the music one plays at the warehouse, in the middle of summer while sweating bullets, desperately awaiting the "roach coach" to bring you the chocolate milk and Dolly Madison Zingers you so crave. All 5 guys on the cover look like they should be wearing Gulf Blue uniforms, oval name patches, and holding a wrench. And after recording this album... ...they probably did!

Bad ass, yes, bad ass indeed.

Turns out 3/5th's of the band formed a more commercially oriented hard rock band called Scram a year later. THEN they went to work for the gas station...

Ownership: LP: 1979 private. Single sleeve. Recent online acquisition (2019)

Not reissued as I update this post (6/11/24)

4/13/10; 4/3/19 (new entry)

Aquila. 1970 England

Aquila were an obscure band from England, a spin off from the relatively popular Blonde on Blonde. Somewhat typical of the era, Aquila utilized saxophone and flute to augment the usual guitar, Hammond, bass, and drums format. The vocals are rough hewned, yet another hallmark of the era. Echoes of Diabolus and the debut albums from Gravy Train and Raw Material come to mind here as well. Fine organ solos throughout with some nice contrast provided by the acoustic guitar. I like the way the band jams over the harmony lines. Album closes in a melodic horn rock way similar to perhaps Blood, Sweat & Tears, or more to the point, Brainchild. Overall a very solid entry for fans of the early UK progressive rock sound.

Ownership: LP: 1970 RCA (Germany). Gatefold. Recent online acquisition (2019)

No legit reissues exist as I update this post (7/3/24).

9/16/10; 4/3/19 (new entry)

Styx - Man of Miracles. 1974 USA-Illinois

Man of Miracles is the 4th album from south Chicago's favorite sons Styx. Objectively speaking, one could make a strong argument that this was Styx's weakest album of the 70s save the awful Cornerstone that closed off the decade.

Despite featuring a cover and title that indicates a prog rock extravaganza, Man of Miracles shows Styx splintering into two entirely different groups. The two guitarists - James Young and John Curulewski - appear to be moving Styx into a good times rock and roll club circuit band. This is evident by the two opening tracks 'Rock & Roll Feeling' and 'Havin' a Ball'. Later on Young bonks the 'A Man Like Me' and the whole band double dribbles the cover song 'Lies'. It's only later we see Young redeem himself with his trademark hard rocking 'Southern Woman', a blueprint for what was to come from him.

Oddly it's the much-maligned Dennis DeYoung that holds Man of Miracles together and saves it from a complete disaster. 'Golden Lark' is a beautiful ballad, one of his best, and among the album's highlights. 'A Song for Suzanne' promises similar, though DeYoung always had this gnawing habit of injecting a Broadway play type mentality into his songs. 'Evil Eyes' and 'Christopher, Mr. Christopher', while not highlights, are certainly well penned tracks. This all leads to the title track, and the one place Styx seems to be operating as a cohesive unit. Co-written by Young and DeYoung, 'Man of Miracles' demonstrates the best of Styx - James Young's heavy rock nature juxtaposed against DeYoung's full onslaught of proggy keyboards. It was an indication of what was to follow, and Styx were to become a force thereafter. If it weren't for the belated 2 years-in-the-can hit 'Lady' suddenly thrust upon the FM radio airwaves, one could easily see Man of Miracles as Styx's swan song. But they caught a break and never looked back. Great things were to come.

Ownership: LP: 1974 Wooden Nickel. I bought this single sleeve LP new as a pre-teen, four years after its release. I still have that copy some 42 years later! 

CD: 2005 Hip-O Select (The Complete Wooden Nickel Recordings). Awesome - features 2 discs that encapsulates their 4 album run on RCA's Wooden Nickel imprint. Comes with liner notes and full album details.

1978; 5//05; 4/3/19 (new entry)

Lard Free - Gilbert Artman's Lard Free. 1973 France

I'd longed struggled with the debut album from Gilbert Artman's Lard Free. Having already digested the superb I'm Around Midnight and Lard Free III, the debut was cut from a different cloth, one not so much to my liking. To this day, I'd submit it's the weakest of the 3, but on reflection there's still much to admire. One thing that becomes apparent here is that Lard Free were still working with a jazz background. And free jazz at that, a style I'm not ever likely to warm up to. So the opening songs reflect that, though the raw guitar is very appealing in this setting. Side 1 would have fit perfectly on the Futura label. It's not until Side 2 that the band demonstrates an early version of the sound that Heldon adopted just one year later. Brooding electronics, and searing atmospheric electric guitars and calming-the-nerves smooth saxophone. 'Livarot Respiration' has this wonderful late night jazz groove - as found in the Twilight Zone.

Overall a good one, but not necessarily representing the sound Lard Free are most known for.

Ownership: CD: 2008 Captain Trip (Japan). Papersleeve edition. Gatefold.

I had the original of this one in the mid 90s, but as noted, it fell outside of my taste range at the time, and I let it fly.

1994 (first listen); 4/3/19 (review / new entry)

Touch. 1981 Germany

Germany certainly had no shortage of bands influenced by Gabriel era Genesis in the late 70s and early 80s including Neuschwanstein, Ivory, Sirius, and a host of others. The populous nation had a head start on the burgeoning NWOBPR scene that was about to take hold in England. Unfortunately there was little market for progressive music in Germany at the time, and all the bands faded rather quickly. Touch (a band name already used 966 times prior) were yet another band that went for a try. They featured a dominant violinist (from Pell Mell), and his fine playing recalls Hoelderlin's own Genesis phase (Clowns and Clouds specifically). The vocals do resemble the theatrical elements of Peter Gabriel quite well. The instrumental work throughout is above standard, and I'm impressed with the overall production. The use of Moog sequencing is refreshing in this context. There is a fair amount of commercial pandering - yet another harbinger of the ill-conceived "neo prog" aspect of the once promising NWOBPR movement. The compositions are diverse, and well thought out. Fans of early 80s Genesis inspired progressive music will enjoy this one. The instrumental work sells this one for me.

Ownership: LP: 1981 Cain. Single sleeve. Purchased online. This was a CDRWL entry and I quickly secured the LP since it was easy to find and cheap. That is still the case. No reissues exist.

Last listen: Feb 24, 2021

Pat Cool - Daybreak. 1973 Netherlands

Pat Cool were an obscure band from The Netherlands that released only this one album. Overall their music could be described as jazz influenced progressive rock, very much from the Dutch 70s school. The group is comprised of 2 keyboardists, flutes, bass, and drums. The clear leader of the band is Gé Titulaer, who not only provides the distinctive lead vocals, but also is one of the keyboard players (Mini-Moog, Hammond Organ, and Fender Rhodes), not to mention his extensive use of recorder and Chinese flutes. There are some long Hammond organ jams here, for fans of the instrument like myself. A quote from an online Dutch Encyclopedia tells us "...and the voice of Gé Titulaer is very prominent also". This would have to rank as one of the all-time great understatements. It's quite apparent to me that he was trying very hard to emulate a one Tom Jones, which is... interesting. So I'll offer another great understatement: His voice is an acquired taste. Overall a very solid Dutch progressive rock album, with jazz and lounge undertones - and a disorienting voice (for the genre). Worth investigating.

Former ownership: LP: 1973 Delta. Single sleeve. The cover shown has been slightly cropped from the original. There's a slim white border around the album.

No reissues exist as I update this post (11/27/24).

3/27/11; 4/3/19 (new entry)

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Other Music - Incidents Out of Context. 1983 USA-California

Other Music were a band from Marin County north of San Francisco who managed to put out two albums before splintering. To date I haven't heard their debut Prime Numbers but Incidents Out of Context is a fine example of World Fusion and experimental music. A mix of systems electronic music, Asian ethnic scales/instruments, unusual tuned percussion, classical chamber music structures and.... fuzz guitar. This latter element just slays me every time, especially in this context (so to speak). One of a kind, that's for sure.

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In 1998, yours truly had a 4 month long-term consulting engagement in Manhattan. The gig was in Soho on the edge of Greenwich Village and my hotel was in Chinatown / Little Italy. Not only did I eat like a king, but at least once a week I'd work off the meal by taking a brisk 20-25 minute walk up Lafayette to Other Music, one of the great "hipster" stores that featured all kinds of our style of music. I have often wondered if they arrived at the store name via this San Francisco based group - an album they most assuredly would have found somewhere during the 1980s or early 90s (as I did).

Former ownership: LP: 1983 Flying Fish. Single sleeve.

Not reissued as I update this post (11/27/24)