Birth Control - 35th Anniversary Live at Rockpalast. 2005 Germany

Birth Control are a band that is widely known among connoisseurs of Krautrock. 35th Anniversary Live at Rockpalast is an album by Birth Control that few have heard of... and even less have actually listened to it. Released under the cover of darkness in 2005, the album was likely only noticed by the few Birth Control die-hards left, and to everyone else it was either met with a yawn, or most likely not noticed at all. I mean, when was the last significant album from the band? 1976? I cannot say myself, as that's the last album (Backdoor Possibilities) I heard and enjoyed by the band, but I was always too chicken to try anything from Increase and beyond. The only reason I have this album is because recently I purchased a large pile of sealed heavy metal (yes... heavy metal) CDs for less than a $1 each. Most of it wasn't even the kind of metal I like (lot of death, punk/hardcore, that sort of thing). Basically it was an investment. Except this CD was in the lot inexplicably (guessing the seller thought it was metal too given the band's moniker and not knowing any better). After seeing the (very few) high ratings and the track lineup - this was the one CD in the batch I was anxious to break the seal and hear (most I just left sealed and have since sold off for a tidy profit - or still have for sale).

It remains unclear from the CD exactly which year this concert was performed (this is the 2nd CD in recent months that I've reviewed that neglected the most important detail of a live concert: Exactly when did you play?). If you read the band history, they technically formed in 1966. Other websites place that date at 1968. And if you only consider release dates, then their debut was 1970. So we'll do that math here. 35 year anniversary could be 2001, 2003, or 2005. A Google search reveals... ta da... 2004. OK, then....

Next consideration: Who's in the band? Almost no one you have heard of, most having joined the group within a 5 year window. The glue here is long time drummer/vocalist Bernd Noske. While none of the original band members even made it to the debut album, one can easily make the argument that Noske was indeed the heart and soul of Birth Control. There is a guest appearance from vocalist Peter Föller, who was with the band from 1974 to 1976, though he's only on 2 tracks here.

Now that we have the forensic details out of the way, what of the music? Well you should know me well enough by now that I'm not going to dedicate 3 paragraphs to a clunker. I'm way too lazy for that. My initial response OH MY GOODNESS! If this album was heard by more folks, it would have 100's of ratings and dozens of reviews. The concert may have been from 2004, but honestly it's not much different than their live album from 1974! Except way better recorded and frankly, more interesting.

It doesn't take long to get hooked. 'Rock the Road' is a straight-up hard rocker. The guitar is heavy, but in the early 70s sense of the word (i.e. no metal here). And the best part... 10 seconds in.... wait for it.... the BIG FAT HAMMOND ORGAN is laid out (ah shoot, it's since been pointed out to be a facsimile thereof. They fooled me! Still sounds awesome...) . And it never goes away! It's the keyboard of choice for a one Sascha Kühn, who obviously studied at the University of Zeus B. Held, and graduated Magna Cum Laude. I didn't recognize this track, and that's because it was from their reformation album Alsatian (2003), which I now obviously need to hear. Believe me, I'm suddenly interested in all things Birth Control right now (I mean the band, I hasten to add...). 'What's Your Name' continues in a straight-up hard rock way. This was a 1972 single that originally ended up on the Believe in the Pill compilation.

And then the real party starts. From 'Trial Trip' to 'Gamma Ray', it might as well be 1975, and Birth Control are out there jamming in a hard rock meets progressive rock way. It's mostly instrumental. Guitarist Peter Engelhardt at times seems to conjure up Frank Marino even! So yea, imagine Frank Marino with Jon Lord on organ. If that isn't worthy of your time, not sure what is.

Here are the tracks and their origins:
Trial Trip (1975 Plastic People)
Hope (a rare single from 1970)
Just Before the Sun Will Rise (1971 Operation)
Like Nothing Ever Changed (2003 Alsation). Must hear this album...
Back From Hell (1974 Rebirth)
The Work is Done (1971 Operation) Wow, they hit this album hard. Good choice too!
Drum Solo... It was good of them to break this out so we could skip over it, and only 2 minutes too!
Gamma Ray (1972 Hoodoo Man)
She's Got Nothing on You (1974 Rebirth)

Those paying close attention will notice 3 of the above tracks were part of the original 1974 Live album. 'Gamma Ray' was also extended greatly there. 'Back From Hell' was 15+ minutes in 1974, now taken back to its original length. And 'She's Got Nothing on You' was also played straight from 31 years prior. The last track, it should be noted, brings us back to the opening two songs, and is a middle of the road hard rocker.

Despite the fact that much of this material existed prior, the exuberance of the occasion and the new players, make it sound new to my ears. Overall this is a great album, one that should not have been ignored as it was. But as mentioned in the prelude, who even knew of its existence? Not I...

Bernd Noske unfortunately passed away in 2014, and that would have seemingly been the end of the group. Fortunately key contributor Sascha Kühn has resuscitated the project, and brought along Peter Föller (see above) as the lead singer, thus keeping a tie to the past. I'm a big proponent of "bands as brands", and would like to see many groups continue on in a multi-generational way. It seems the younger generation still has the fire and imagination of their forefathers.

Personal collection
CD: 2005 Mr. D Music

Not an easy CD to find, and as mentioned above, I totally lucked into it. The CD is chock full of liner notes (in German and English - everything but when it was recorded...), and includes a handful of photos as well.

Fresh Maggots. 1971 England

Those who name their band Fresh Maggots come from the same UK folk rock school of thought as groups who sing about murder and rape while adorning their cover with a Grendel like creature. Or bands who name their album Mice And Rats In The Loft.

At its core, Fresh Maggots is simply a gentle folk record performed by a duo. It's the kind of album that if I were to judiciously choose the right tracks - or portions of tracks - to my dad, he would have been delighted. Until he heard the screeching and heavily affected fuzz guitar blaring from the speakers. Then he'd look like Grumpy Cat (RIP). (As an aside, my Uncle always looked like Grumpy Cat. Hmmm.... I digress).

As you've probably read from me before, most albums that are labeled psychedelic folk have me scratching my head as to where the psychedelic comes from, other than it was released in the late 60's maybe. This is not a problem with Fresh Maggots. It's pretty obvious....

Depending on one's perspective, the wild guitar, flutes, etc.... either enhance or ruin a perfectly good folk album. I - of course - am solidly in the former camp. And because of it, I find Fresh Maggots to be one the highlights of the genre.

Ownership: CD: 1995 Si-Wan (Korea). Part of a collection buy (1997). This was the first legitimate reissue and it sounds like it's from the original RCA master tapes. I recently obtained the Sunbeam reissue (2023) and unfortunately it's taken from vinyl and not a very good transfer at that (lots of clicks and distortion - glitchy). I haven't had any issues with Sunbeam prior, so this was disappointing. The legality is unquestioned though, and features full liner notes with band participation. It also includes both tracks from a rare single (sounds fine, but not at the same level as the album) and 5 live songs from 1971, though no new compositions (pretty much straight renditions with slight dropouts). Taking this all into account, not worth keeping the Sunbeam reissue. I'll photo the liner notes and sell it. Original LP's are pushing 4 figures, so I'm fine with the CD here.

1997; 5/24/19 (new entry); 8/21/23

Catalyst. 1972 USA-Pennsylvania

Catalyst were a band from West Philadelphia, who managed a strong 4 album run before calling it a game. Their music is not an easy one to describe, and requires multiple listens to penetrate. Essentially one could call this modal jazz for the funk crowd, with emphasis on the former. There are some stop-in-your-tracks melodies found here, generally noted right from the beginning of each. The longer tracks allow for some jazz soloing, and can get a bit dull in places. After hearing Side 1, it starts to feel like a slog, but after hearing the stunning 'Jabali' and the sunny-skies 'New Found Truths', the mood changes. A replay of side 1 reveals more of the essence of the recording and seems more lively throughout. Sometimes that's how it works. 'Salaam' is beautiful and it's the one track one wishes would have gone longer.

"Al" Johnson is none other than bassist Alphonso Johnson who went on to Weather Report and ultimately jazz fusion fame.

Ownership: CD: 2010 Porter (on The Complete Recordings Vol. 1). Includes their second album Perception. Digipak with recording details. One bonus track.

3/27/12 (first listen); 5/24/19 (review); 1/10/24

Pan - On the Air. 1970 Denmark

Recently I wrote about Pan's debut, an album that took me some 25 years to reconcile with. Not long after, I was offered this archival CD of Pan's radio recordings from the same year of 1970. All the tracks are different, so I pounced on it.

Good move. What's interesting about the radio sessions is that Pan are more psychedelic and less straight-up hard rocking. Like most Danish bands from the era, Pan possessed an innate talent to set off on a jam and keep it interesting throughout. As with the debut, Pan aren't going to win any songwriting awards, but the instrumentals more than make up for any shortcoming. The longer tracks, of course, are where the highlights can be found. And there's plenty of them. As a whole, I found the archival album more satisfying than the studio effort.

Ownership: CD: 2004 Karma. Jewel case release. Online acquisition (2019). Looks to be a second pressing as the cover is different than the original. Like with Karma's reissue of the Pan album, all the liner notes are in Danish. If anyone has an English translation, I would most welcome them, and publish right here for posterity and reference to all.

5/24/19 (new entry)

The Sergio Mendes Trio - Brasil '65. 1965 Brazil

The cover hypes/screams that this album is "The Greatest New South American Arrival Since Coffee!" Haha - well you know, they might have a point... Especially in 1965.

On rare occasion I travel to Sao Paulo for business. Fortunately the hotels we are allowed to stay at are quite luxurious, and this is exactly the type of music they pipe into the lounge and the restaurant. In fact, some of the music comes right off this album. I suspect it's what a tourist, or what the hotels think a tourist, might want to hear while there. I mean you can't expect them to play Modulo 1000 or Lula Cortes e Ze Remalho... or Sepultura.

Bossa Nova pop such as this has to be some of the easiest music on the ears. The beautiful female vocals, the soothing rhythms, the soft textured acoustic guitar, the lovely piano, and the flute. It's - forgive me - So Nice.

Ownership: LP: 1965 Capitol. Another great estate sale find (2019). Originals on rainbow Capitol are out there, but not dirt cheap. And this is a sweet copy. Keeper!

5/24/19 (first listen / review / new entry)

Burt Bacharach - Reach Out. 1967 USA

Burt Bacharach seemed to corner the market on all the excellent melodies and arrangements of the 1960s. How one person could generate so much creativity, within the tight space of pop music, will go down as one of the great mysteries of our time.

Bacharach is famous for his hit making songs. But on album, under his own name, not so much. It's telling he only had 10 albums by the end of the decade he helped define in pop culture terms. Reach Out is one of those, perhaps his most known. It's basically an orchestrated version of his top hits. For anyone else, this would be a yawn fest, 101 Strings' Hymn to the Great Elevator. In the hands of Bacharach, the most adept of arrangers, all of his songs come to life in different and inspiring ways. There are no star studded vocalists here, though it's not entirely instrumental. You will recognize most of these songs, but not in the same way as you might think.

Ostensibly this falls into the Easy Listening genre. This a term Bacharach bristled at. Yes, it's easy on the ears for sure, but it's hardly easy to compose or perform. I could not agree more. The depth of composition here is astounding, and was copied by thousands of aspiring songwriters. Most fell way short of achieving it.

Did you know, as I write this, that Bacharach is 91 and still writing songs? Somebody should take a blood sample. I bet a wire comes out instead...

Personal collection
LP: 1967 A&M

An easy album to find. Not so easy to find in Mint condition, which I recently did.

Steeplechase - Lady Bright. 1970 USA-New York

Steeplechase were a band from Brooklyn who released this one LP and disappeared with every other band from 1970 America. Their music is decidedly on the hard rock side of the scale with heavy guitar and Hammond organ. Vocals are of the rough bluesy variety. Steppenwolf seems to have played a major role in this band's development.

Opener 'Wrought Iron Man' kicks ass and is a very auspicious beginning. One of the better early hard tracks I've heard from these shores. It's a dumb name though. I understand an Iron Man, but Wrought Iron Man? What is he - a fence? Hey, you could take that metaphorically as you wish... Incidentally his sister goes by Cast Iron Girl... The other major highlight is the proggy 'Sea Shore' a second side middle track that is easily missed if not paying close attention. 'Talking Bout You' has some cool psychedelic effects, and the second half of 'Mary Clarke' has a nice jam. The closers on each side are best skipped over, unless you enjoy the gospel-ish side of 70s rock.

Solid album that I'd never even heard of until today. Good rummage sale pickup for sure.

BTW, it seems the band is really quite happy on the front and back cover. Could it be the very first time they've seen plants and trees? Hey, you never know...

Ownership: LP: 1970 Polydor

Again, a solid album, but just need to keep the shelf clean...

Hanson - Now Hear This. 1973 England

There are those, perhaps even a majority, who believe the music world would have been different had Jimi Hendrix remained alive. His larger than life personality and obvious powerful influence in the late 60s would have kept the creative force of continuing to challenge music norms to this very day.

No - nothing would have changed. Other than more great music from Hendrix for a short while of course. We would have watched him take on progressive rock, jazz/rock, funk, and fusion throughout the mid 70s. And then the wheels would have come off. Desperate attempts to stay relevant in the public eye - he would have tried AOR, Disco, New Wave, and finally bad 80s pop. Once all that failed (and later tagged with a series of 2.5 to 2.75 ratings on RYM) he probably would done some instrumental guitar rock, and possibly even caught a commercial break like Santana. Finally crawling into the 2000's, the rediscovery awaits, and he sells out stadiums of 75,000 or more. While at the water cooler, the sales guy, all dressed up in his blue suit and tie brags to his co-workers "Guess what I did this weekend? I flew to London and saw Hendrix live". "Oh wowww", everyone coos. "That's soooo cool" says all the IT workers surrounding who have no hope to see Hendrix beyond YouTube.

Oh - Now Hear This - thank you Junior Marvin Hanson for giving us a reasonable facsimile of what Jimi Hendrix would have accomplished in 1973. Well done. Am I finished here? Yea, that's it.

Ownership: LP: 1973 Manticore (USA). Gatefold. Recent pickup from a store in Albuquerque (2022).

5/24/19 (new entry); 4/27/22

BullAngus - Free For All. 1972 USA-New York

Free For All is the sophomore and final album from BullAngus. Similar in construction to the first album, Free For All is a mix of hard rock, bar boogie, late psych, and proto progressive rock. Organ and guitar are the focal instruments. I also picked up a distinct "Midwest Progressive Rock" sound on a couple of tracks, despite their New York roots, which prompted me to do a little research. Turns out they did embark on some extensive touring in the Midwest region. They opened for major acts of the day like Fleetwood Mac and Deep Purple, which appears to have had some impact on their sound. A good friend of mine will tell you BullAngus were the best US band ever, and he's heard a ton of music (way more than I), so they definitely had something going on here. Unfortunately their talent didn't result in sales, and this was to be the end for BullAngus.

Former ownership: LP: 1972 Mercury. Gatefold.

Not reissued as I update this post (1/7/25)

1/13/07 (first listen); 5/24/19 (review / new entry)

Wild Cherry - I Love My Music. 1978 USA

Ha - probably no one wants to admit they listen to this. Well it's here, so I did. And I feel like talking about it. It's a kind of therapy I think...

Pittsburgh's finest tighty-whiteys are your classic one hit wonder, something about white boys and funky music. But they clawed their way to that hit, having released numerous - and obscure - rock singles throughout the early 70s. When it was time for a full length album, they were wise to jump on the oncoming disco movement. Cash in!

I Love My Music is Wild Cherry's 3rd full length album. How about that cover, eh? Gee, I wonder when this was released? I think Bob Guccione designed it. So I got my platform shoes and top hat on, and was ready to boogie-woogie. If only it were a disco album. On this point, Wild Cherry are pretty good actually. But those blue-eyed soul moments. Whooo... man, that's rough going there. As with a lot of disco albums, the musicianship is at a higher level than ever given credit for. And here you have the Brecker brothers in tow.

Overall not so bad. No need to hide in the closet while listening to it. You are liberated! Go free young man/woman/both/neither/non-binary/whatever.

There's a price to pay for getting LPs for a $1. "The first one is on me...". Checks into clinic....

LP: 1978 Epic

A.R. & Machines - AR IV. 1973 Germany

The 4th album from Achim Reichel's experimental phase is regarded by many to be his best work.  I too had it rated highest even though, oddly enough, it was the album (of the 6 classics) I was the least familiar with. It was also the last one for me to acquire, and I discuss that below.

After absorbing the album for two straight listens, I can now say with conviction that my instincts were correct. This is the one I enjoy best. It takes the same concept as AR 3, but adds a crispness, clarity, and intensity not found there. In this way it's more like Die Grune Reise, yet it's far more psychedelic, creating hypnotic patterns similar to what Gottsching would do two years later on Inventions for Electric Guitar. As I said on AR 3, Reichel's music is something one needs to immerse themselves in, and absorb, rather than seek for melodic hook lines or to sit back and await being blown away. Reichel and his band - along with his machines, namely tape decks - have created their own musical world. One that only existed with them, and never reappeared again after 1975. Essential.

Ownership: LP: 1972 Zebra. Single sleeve. Acquired at a record store in Boise, Idaho (1998). See below for more about that encounter.

CD: 2017 BMG/Tangram. As part of the 10 CD set The Art of German Psychedelic. Here are my notes for the CD box. 

Unlike the other five Reichel albums, IV had eluded me in my initial quest. AR 3 and Die Grune Reise were secured before I exited college in 1987. Echo and Erholung were both found a couple of months later, and Autovision not long after that. Though I didn't have it, I wasn't actively turning every rock over for it either (not realizing at the time how great it might be). In the fall of 1998 (still pre-ebay, at least for me), I was in a long term consulting gig at Boise State University. One evening, lacking anything else better to do (and we usually had group events, so solo nights were rare), I headed over to a record store near downtown. And there it was! Nothing else in the store of note, just AR IV for all of $5. 

10//98; 5/16/19 (new entry)

The Old Man & The Sea - 1972-75. Denmark

Denmark's The Old Man & The Sea released one killer and highly respected heavy prog album in 1972, and then disappeared... into the sea apparently. Sometime in 2003, the excellent Karma label out of the Christiana district of Copenhagen - who had been in touch with original organist Tommy Hansen (who later became more famous in the 1980s and beyond as a heavy metal producer) - released a fine set of archival material that more or less remains under the radar. I missed it initially myself, and I'm just now catching up as I picked up the CD recently.

While the debut was clearly in lockstep with the northern European trends of the early 1970s, it becomes obvious that The Old Man & The Sea were anxious to tie itself closer to the UK style. At once the album could be a hard rocker, and then this is quickly followed by an obvious love for none other than Yes. There's some extraordinary organ and guitar work throughout. The idea of a hard rocking Yes is quite welcome in my world anyway. While some of the songwriting could use improvement, the instrumental sections are almost always of the highest order. Most of the album falls into the "great" category and there are no clunkers. Two major highlights are 'The Sea of Green' which is probably the most overt of the songs emulating Yes. The other eye opener is 'The Jam' which truly sounds like an instrumental Krautrock circa 1971, and is very energetic.

The CD is interesting in that it's not presented in any kind of order. There are no dates listed per track, and the sound quality is varied but always excellent (no doubt Hansen's influence). It's not chronological, nor best sound to worst, nor most excellent tracks to worst. Which is great for the listener as it remains interesting from beginning to end. Well worth seeking out the CD for the collection.

Personal collection
CD: 2003 Karma

The CD also features a poster cover insert with a large amount of biographical data, photos, etc.... Excellent package on the whole.

Six Feet Under - In Retrospect 1969-'70. USA-New Jersey

This archival CD from New Jersey's Six Feet Under is an extraordinary document, and captures a rare time in American rock history - that of 1970, a year I've often referred to as "lost". The music featured here is something of a prototype for another "proto" (double proto!) sound that I've focused on prior. That is to say it's a forceful heavy psychedelic, just beginning to border the progressive rock movement sweeping Europe at the time. Like 99% of the underground US bands before them during this era, Six Feet Under's dreams of grandeur were met with disappointment and off to the workforce they went. But few left so much great music on tape for posterity.

Personally I consider the "Studio Recordings" as the album proper and the other 11 tracks as bonus. Highlights include 'Freedom', 'What Would You Do?', 'Inspiration in My Head', 'Baby I Want to Love You', and 'Running Around in the Sun'. All feature the strong vocals of Nanette DeLaune, with blistering guitar from Scott Julian, and the inspiring keyboards of band leader Jerry Dobb. These are all well written tracks, and feature the kind of hooks that get notice. Certainly the Jefferson Airplane were an influence, but this is considerably heavier than that connotation may imply. I think the band Six Feet Under resemble the most is the Florida based Fantasy, a band from the same era that made the list above.

"The Home Recordings", while not up to the same standard as the studio, are still quite enjoyable. I'm not a big fan of CCR, but their rendition of 'Suzy Q' (actually a 50's hit, but CCR made it that much more famous) is excellent, with some fine fuzz guitar soloing to close it off. 'In-A-Gadda-Da-Vida' is a straight cover (minus the excess), and is interesting but does not transcend the original. As for the "Bonus Tracks", yea they're just that. Certainly worthy of inclusion but should not detract from the overall experience.

One interesting tidbit - their original drummer (deemed "not good enough" by their original label) went on to sit behind the kit for none other than Bon Jovi. Ha - take that!

In a nutshell - a super archival release, one not to be missed for fans of heavy psychedelic and the embryonic stages of progressive rock.

Ownership: CD: 1998 Arf! Arf!. Excellent package with full liner notes from Jerry Dobb, photos, memorabilia, etc...

5/16/19 (new entry)

Nuova Idea - Clowns. 1973 Italy

Clowns is the 3rd album from Genoa's Nuova Idea. The previous effort Mr E. Jones demonstrated a band in transition going from a beat/pop group to that of progressive rock. By Clowns, Nuova Idea were very much playing the music that was in vogue at the time - that of a full-on progressive rock album. For the time and place, it's not an extraordinary work, but it's most certainly representative. Straight down the middle 1973 Italian prog is going to deliver quality results, and Clowns is no exception.

Much is made of newcomer Ricky Belloni's voice. To be honest, most Italian progressive rock vocalists are either histrionic or gravelly to begin with. Rare is the smooth voice as found from Le Orme, Celeste, or PFM. I know many folks who turn their back on Italian progressive rock in general, only because they cannot understand the lyrics. "Needs to be in English!" they plead. I can't understand Italian either, but just like opera, the voice then becomes an instrument. So from my perspective, a distinctive voice is something to seek out. At his most alarming, Belloni is no more overwrought than Roger Chapman of Family. If you can handle that, you can handle Clowns. Personally - I like them!

Ownership: LP: 1973 Ariston. Gatefold with bizarre orgy/clown artwork. Online acquisition for all of $2 in 2004. A total fluke and a mintish copy too. 

I also once had the Mellow CD, but it offered nothing else, so decided to move it out.

2003; 11//04; 5/16/19 (new entry)

Hiromasa Suzuki - Silk Road Rock Joint Cither. 1973 Japan

Rock Joint Cither goes back to the heyday of our CDRWL research. We were digging deep into the mines of Japan, and new discoveries continued to surface on a regular basis. One of the earliest of those was the Rock Joint series. This title, as seen on the cover, was commonly presumed to be Silk Road and the artist as Rock Joint Cither (or vice-versa). Not too long after our "discovery", a CD surfaced for both. It was then that it was revealed to be pianist and jazzer Hiromasa Suzuki who was behind these recordings.

Cither is a "lost in translation" scenario. Cither is a synonym for zither, but of course the instrument in question is really a sitar. For Rock Joint Cither, the truth of the matter is there isn't much rock, beyond some of the deeper rhythmic grooves. Mostly this is a type of heavy straight jazz, as was played more commonly in 1970 with, not surprisingly, sitar blended in throughout. I find the album intriguing though not necessarily satisfying on the whole. Without a doubt worth hearing, but I didn't find it as revelatory as Rock Joint Biwa, the other album from the series.

Clicker. 1973 USA-Wisconsin

Private press prog album from Madison, Wisconsin. First couple of tracks are straight forward early 70's rock all the way, though they feature mellotron on the 2nd track. One of the rare places where I really think they used the instrument as a strings sampler rather than as moody accompaniment. This is followed by an atmospheric acoustic guitar driven instrumental. Then a Yes-like proggy piece, having that uniquely Midwestern approach (e.g. Starcastle or Albatross). Another rocker and a short quirky instrumental close out Side 1. Side 2 starts with an amalgamation of their prog and rock tendencies. This leads to the 16 minute closer. After a silly 2 minute introductory narrative, we are treated to a surprisingly great jazz rock instrumental, though there's an overlong and somewhat uninteresting guitar noodle solo section (with no other accompanying instruments). A nice album that grows on you. The good parts are really good.

LP: 1973 Hemisphere

Last listen: December 2010

The Grodeck Whipperjenny. 1970 USA-Ohio

The Grodeck Whipperjenny were a Cincinnati based group, who also happened to be side project / backup band for James Brown during this period (and thus the album was released on Brown's People label). Without Brown at the microphone, the band obtained a chance to extend their composition abilities beyond purely hard funk/soul. Not surprisingly, this is a type of psychedelic funk with loads of killer fuzz guitar and bass. But here on The Grodeck Whipperjenny it's combined with that European progressive rock take on the Jefferson Airplane! So we end up with a mix of bands somewhere between Stark Reality, Sandrose, and Julian's Treatment. Side 2 is really fantastic with a funky groove that won't quit. The only unfortunate aspect is the length of the album - I want more of it!

Ownership: CD: 2019 Now Again

After many years of watching super expensive original LPs pass by - along with dubious reissues of no value - we have finally obtained a worthy reissue. Now Again does their usual fantastic job with full liner notes and photos. Unfortunately there are no bonus tracks, so it's a very short 32 minute CD. I really think they should have combined this with its brother project James Brown's Sho is Funky Down Here, especially considering it too has no bonus tracks. Actually I originally thought that was how it was being sold. I can understand trying to maximize the revenue here, but it's not ideal for consumers. Not complaining, just an observation. Glad to have it reissued properly!

8/31/09; 5/9/19 (new entry)

Think - We'll Give You a Buzz. 1976 New Zealand

Think were a band from New Zealand who released only this one album, which is quite a rarity these days. What you'll find here is a mix of mid to late 1970s British pomp / prog similar to England, Kestrel, and Nostradamus, combined with some obvious pop moves and the required boogie rock number ('Rippoff') that all Australasian bands felt obligated to include back then. Of course Think were not alone in releasing music such as this from the region, as you will find other examples in Dragon (first 2 albums), Sebastian Hardie, Aleph, and Ragnarok. There's excellent songwriting and instrumental breaks throughout. Other than the one trip up as mentioned above, all the rest is excellent in my estimation.

Ownership: LP: 1976 Atlantic. Single sleeve

Features wonderful artwork. 

No reissues as of 6/11/24.

3/14/10; 5/9/19 (new entry)

Perdio - Raccolta Completa. 1973;1976 Italy

Perdio were an obscure band from Bergamo, in the north of Italy. They were formed out of I Raminghi and Terza Classe (III Classe), the latter also having ties to Madrugada, an important relationship. Perdio never managed to release anything in their original incarnation. It wasn't until 1998 that Giallo pulled together a compilation of two recordings from 1976 and 1973 respectively. Like many albums in my collection, I bought it real time, listened, and filed. And 20+ years later here we are again reviewing the CD. Honestly I couldn't remember anything about this album from prior.

The album opens with the 1976 tracks, the latter being a rendition of a song that Madrugada also recorded. The 22 minute opener 'Introduzione' is a long space rock jam, with clear Soft Machine III references. In this way Perdio operate somewhat in similar territory to Dedalus' debut, but more with a rock attitude and less jazz. There are strong similarities here to what Il Rovescio della Medaglia were also pursuing as documented later on ...Giudizio Avrai. Had Perdio continued in this manner, one could see them in the same zone as St. Tropez maybe.

The remaining four 1973 tracks really aren't that dissimilar (including sound quality), with perhaps more of a classic Italian prog vibe. But Perdio were never of the turn-on-a-dime variety. They clearly appreciate the space afforded and always seem up for a good jam.

The sound quality throughout is very good, though not ready for prime time (but better than standard bootleg). If the idea of a space rock version of Dedalus captures the imagination, then make a go for this CD.

Personal collection
CD: 1998 Giallo

Despite its obscurity, and relatively low profile, the CD is still available today at regular prices. Wouldn't seem that will always be the case, so I'd get it sooner rather than later. Never has been pressed on vinyl.

Deus Ex Machina - Gladium Caeli. 1991 Italy

Deus Ex Machina burst onto the progressive rock scene in 1991 with their debut Gladium Caeli. When me and my running set acquired this CD real time, it was quite the revelation - and not easy to handle honestly. I've often referred to this album as chaotic and unfocused. But it's probably been 25 years since I last heard it, when it was found hiding deep in the collection. And after all that time, my conclusion is...

...it's chaotic and unfocused. Which isn't necessarily a bad thing mind you. Deus Ex Machina draw just as much influence from 70s hard rock as they do from progressive rock. And that's a fine mix as far as I'm concerned. There's some long form guitar jamming here that certainly recall Led Zeppelin or even Deep Purple. The vocals are one of many unique twists - Alberto Piras being one of the marvels of the Italian prog renaissance. His idol was none other than Demetrio Stratos of Area, and to add even more distinction, he sings in Latin! Most of the album was ignored by the band for later stage shows, and it's easy to see why, as they lack the kind of memorable hooks one seeks to hear in a live setting. One exception to this is 'Ignis ab Caelo', sometimes referred to simply as 'Ignis'. For awhile the band played a truncated version of 'Dialeghan' arguably the album's finest track, and most certainly the fieriest. There are no major peaks here, but everything is at least very good. It's a fine first effort, released at a time when progressive rock was just rolling again. It was well received, and they would improve leaps and bounds from here. And yet I find this album just as enjoyable, rough and tumble as it may be.

Ownership: CD: 1991 Drums Edizioni Musicali. Jewel case.

1992; 5/9/19 (new entry)

Tangerine Dream - Cyclone. 1978 Germany

Probably the most misunderstood of the 70s Tangerine Dream albums. On RYM, it is the lowest ranking album from Alpha Centauri through Poland, before it tops the throwaway Le Parc (incidentally I consider Electronic Meditation to be a complete Krautrock masterpiece, but it certainly makes sense it rates low, especially among more traditional Tangerine Dream fans).

And why is that? Well, the vocals of course. Steve Jolliffe was not a new walk-on to the band. His association with Edgar Froese goes all the way back to 1969, before Franke, Baumann, and the rest of them. He's an Englishman, so it isn't a foreign accent issue. Truth is, and I agree with this too, they aren't the best vocals in the world. Anyone who has a taste for Krautrock, will already know that vocals aren't the ace in the hole for the movement. Once your ears have adjusted to it, Jolliffe isn't any worse than the others.

With that out of the way, let's discuss the reality here. Only Side 1 has vocals, and they do not dominate either song. It's just an anomaly that's all. But what Jolliffe does bring to the table, in addition to the expected raftful of keyboards, is a set of woodwinds. The flute in particular is an instrument that is much welcomed for the music of Tangerine Dream. I wish they had always employed one. Perhaps they should have asked Stephen Kaske (Mythos) to join permanently (though they'd really need him not to sing...).

Part 2 of this lineup is the addition of drummer Klaus Kruger. He was an active part of Froese's world in 1978 and 1979, before going solo in the Harald Grosskopf tradition. His drumming is absolutely perfect for music such as this, adding an urgency to the blazing sequencers.

As for the music, most of it is a continuation as to what they were performing on Stratosfear and Encore. Not a radical departure at all. And of course even detractors of the album will admit 'Madrigal Meridian' is one of Tangerine Dream's all-time classics. And at 20 minutes that should be enough alone - much less the great music on the first side. It's really a tragedy this lineup only lasted one album. Excellent.

Ownership: LP: 1978 Virgin (UK); CD: 2019 Virgin (In Search of Hades box set). Like most 70s/early 80s Tangerine Dream albums, this album is core for me. I discovered the band during my later years of high school (1981-1983), and bought everything up to that point. Of course the first copy I purchased was whatever was in print at the time, which was the single sleeve version. This was one of the very first LPs I replaced with a CD in the mid 1980s. Sometime in the last 20 years I picked up the original UK gatefold LP for posterity. Originals are still dirt cheap to this day.

In Search of Hades will have its own feature. But I must say this is by far and away the best version of this album I've heard. There are two bonus tracks on this disc, both from the '70-'80 compilation. These are the Peter Baumann and Edgar Froese solo tracks, and were only ever released on that album prior to this box set.

Zomby Woof - Riding on a Tear. 1977 Germany

Zomby Woof were a talented German band from the 70s era who only managed to release one 45 and LP in their lifetime. Like many bands from the time and place, Zomby Woof made a go at the symphonic progressive rock style, no doubt encouraged by the success of Grobschnitt, Novalis, Eloy, Jane and the like. Somewhere in that zone where you find kindred spirits such as Tibet, Ramses, M.L. Bongers Project, and Madison Dyke. The music here is fantastic, and the group is firing on all cylinders during the instrumental sections. The Achilles Heel here is a familiar one back in its day: Germans singing in off-key English. And even at that, most of those songs contain lengthy instrumental passages that save the effort. Side 2's nearly 9 minute instrumental opener 'Dora's Drive' is really something special with the Clavinet driving the song in exciting ways with fiery electric guitar solos. The music here really wins the day, and it just takes a bit of patience to sit through some of the vocal sections. Recommended to fans of the 1970s German symphonic style (which includes me), but for others it's probably best to lay off this one.

The Garden of Delights CD adds their one single which I'll cover off below. In addition to that there are two unreleased tracks from 1978 and 1979. 'Highwire Dance' and 'Back Home' are not to be missed, and display a fascinating blend of all-in progressive rock with that of the upcoming New Wave movement. The band were clearly improving as time wore on, and it seems a 1979/1980 album from them would have demonstrated improvement. Alas it was not meant to be.

Personal collection
CD: 2002 Garden of Delights
LP: 1977 Jupiter

Usual great reissue from GoD with full liner notes in German and English, photos, discographies, etc... plus the 4 bonus tracks as mentioned above. I once had the rather mundane original LP over a decade ago, but didn't feel compelled to keep it. A decision I continue to agree with. The CD is perfect here.

Zomby Woof's sole single is nothing more than truncated and edited tracks from their LP proper. Odd choice to promote 'Dora's Drive' as their 45 single, though admittedly it is their best song. But instrumentals were/are usually a tough sale in the AM marketplace.

Embryo - Bad Heads and Bad Cats. 1975 Germany

Bad Heads and Bad Cats is the 8th studio album from Embryo, and the second of which bandleader Christian Burchard later referred to as their "commercial years". For Embryo perhaps that is an accurate assessment, for anyone else commercial is not the first word to enter one's mind. More accessible, maybe. I would like for someone to hear 'Nina Kupenda', 'After the Rain', or 'Klondyke Netti' and claim it's somehow music for the masses.

The mid 70s saw Embryo move from being Germany's number #1 export of Krautrock mixed with jazz, to that of pioneering jazz fusion with a bit of funk - while never forgetting their Krautrock roots. As is often the case with Embryo, they were the leaders not the followers. And plenty went down this road in Germany during the next few years, but few - if any - were as accomplished as the almighty Embryo. And even on the more traditional songs, no one could pen a meaner tune than guitarist/vocalist Roman Bunka. The soulful female vocals of Ghana born Maria Archer only adds to the exotic vibe. And how about that deep bass groove on 'Klondyke Netti'? Both of the CD versions contain a 16+ minute excellent period jam called 'Human Contact' that recalls the archival 'Invisible Documents' and shows Embryo in looser form.

For my tastes, Bad Heads and Bad Cats is essential Embryo. Those calling it "ordinary" seem to lack the context from which it was delivered.

Ownership: LP: 1977 April. I scored this LP way back in the beginning of 1988, and was one of 3 Embryo albums I found at a local Carrollton (Dallas) record store while first discovering the band (Rache and Reise being the other two). At the time Bad Heads was by far my least favorite, but as my review attests, I've really come around to this era of Embryo - and this era of German fusion in general. There's quite a debate going on right now on Discogs' about the very first pressing - including the Freeman's (of course). Mine is certainly the second press given the booklet is dated 1977 (and we corrected the entry on Discogs a couple of years back because of it). Apparently the first pressing should predate the Label Code era, and yet not one copy has been found without it. More to come I suspect.

CD: 1999 Disconforme (Andorra). The digi-pak CD on Disconforme was the first to market, and very well done. Has an essay from the label founder along with the family tree and an extracted review from noted Embryo expert Alan Freeman. I suspect the Garden of Delights version to be even better, and likely to flesh out the details further about the release, including the bonus track which did not have any detail on the Disconforme CD.

1//88; 9//09; 6/2/06; 5/4/19 (new entry)

Nexus Erratic - Inverse. 1983 Switzerland

OK, I admit it. I'm a closet neo progressive rock fan. I remember when it was known as the New Wave of British Progressive Rock (NWOBPR) to counter the NWOBHM movement (of which I'm also a fan). And I love all those early albums in the style by IQ, Marillion, Twelfth Night, Pendragon, Haze, Tamarisk, LaHost and a few others that you might find on this site as well. Unfortunately the term "neo prog" became muddied later in the 1980s when it became a euphemism for thinly disguised arena rock/AOR but with longer songs and fantasy lyrics. I was turned off, as were many other progressive rock fans.

But there weren't too many progenitors from continental Europe, especially Switzerland (not counting the rather dubious Deyss), until many years later. Nexus Erratic fits squarely in the 1982/83 UK neo sound. The only other band from Switzerland I can think of like this is Galaad (a very good early 90s band), another group from near the French Alps (as Nexus Erratic is). However Nexus Erratic are minus the Ange, Mona Lisa influences of Galaad - this is definitively UK sounding. I was really surprised by how much I liked this one. Cautiously recommended to most, highly recommended to those who love a good old fashioned early 80's UK "neo" album.

Ownership: LP: 1983 Turicaphon. Single sleeve with poster lyric insert. Acquired from a friend in Japan (2019)

Not reissued as I update this post (8/5/24).

10/15/10 (first listen/review); 5/4/19 (update/new entry)

A.R. & Machines - AR 3. 1973 Germany

The 3rd album from Achim Reichel's experimental group A.R. & Machines is a return to the sounds and concepts of Die Grune Reise. Gone are the long sprawling trips of Echo in exchange for the return of the (relatively) short form track. And like the debut, most of the compositions blend into each other. AR3 isn't as crisp, energetic, or as pioneering as Die Grune Reise, but I find it no less satisfying on the whole. Admittedly it starts of a bit slow with 'Warum Peter Nur Noch Ferien Macht', but it gains momentum throughout the song and by the time of 'Tarzan’s Abenteuer Im Sommerschlußverkauf', you should find yourself deep within its grasp. This is the kind of music one needs to immerse themselves into, rather than looking for hooks and jaw dropping instrumental moments. It's a type of psychedelic miasma, and one of Reichel's trademarks honestly. To me, the vocals are very similar to the debut. You can barely hear them, and they are warbled and mumbled rather than sung. The opening to Side 2 'Die Eigentümer Der Welt' is the only disappointment here, given it's more of a vocally oriented psychedelic folk song, and definitely ruins the flow, especially if hearing it on CD.

I find myself in the minority with AR3, and consider it one more link in the chain of 6 album classics starting with Die Grune Reise and ending with Erholung. Essential.

Ownership: LP: 1973 Zebra. One of the earliest obscure Krautrock finds that I brought into the collection, having stumbled onto the original at a local Dallas record show way back in the summer of 1985 for all of $2. I had no idea what it was, but it certainly had the look of the type of album I was seeking - and continue to seek some 34 years later. I still have that exact LP which was, and is, in NM condition.

CD: 2017 BMG (as part of The Art Of German Psychedelic 1970-74). 

This is the first time for me to cover the box set, since I put the first 2 albums in Journals instead. Below is my (starter) review for it. I'll refer to this post going forward in reference.

The Art Of German Psychedelic 1970-74 is an extraordinary 10 CD box set that comes with a 96 page hardbound book with full historical notes and unique photos.

It includes all of the electronic/progressive/Krautrock A.R. & Machines / Achim Reichel albums + much more.

The reissues include:
Die Grune Reise (reissued twice legally before)
Echo (first legit reissue)
AR 3 (reissued once by Spectrum and very obscure at that)
AR IV (first legit reissue)
Autovision (reissued once by Spectrum and very obscure at that)
Erholung (first legit reissue)

Concerning Erholung, it's actually the full concert and includes an additional 34 minutes to the original Brain LP.

AR IV also includes an additional 31 minutes of live in the studio.

In addition to the above 6, there's a live concert from 1973 in full; Remixes from 1996; a DJ mix CD; and a CD that is called 14 Pieces For Guitar and Echo Chamber.

1985; 5/4/19 (new entry)

Little Brian - Thrash Funk. 2007 USA

Thrash Funk is one of the most interesting albums in my collection. If you read what's on the tin, the album promises to combine two great genres: Thrash metal and jazz funk. However, other than perhaps the title track (maybe), it doesn't really contain thrash metal. But there's definitely heavy metal parts - as added to a jazz rock album. Funk nor jazz in metal is hardly a new concept, but what separates Little Brian from the others is that the jazz is really more what was known in the late 60s and early 70s as horn rock. Now that I've not heard mixed with metal before. And it's all instrumental, making it just that much more unique. I really appreciate the tight horn charts juxtaposed against the heavy riffing of the guitars.

The album starts off with a head fake on 'Slow Greasy', which is a self defining title - that of a grimy blues jazz. Then 'T-1000' blasts from the speakers and offers up the album's highlight, sounding like a fine mix of early Chicago and a speedy Iron Maiden. From here on, Thrash Funk continues in this manner. It's a relative short album (around 33 minutes), spread across 11 tracks, which is the perfect length for music such as this. The album's closer 'Party' continues on (after what I consider the end of the album) into silence and then breaks into a lengthy experimental bit. Not sure why they appended this on as it has nothing to do with the album proper, and it's not particularly well done (annoying in fact). But you can stop the CD prior to it.

Little Brian were trailblazing a new path, and I for one would like to see other bands in pursuit of similar. It takes a lot of work to write in horn charts within the context of complex metal compositions. Unfortunately it appears this album was to be a one off. A very obscure one at that. See below.

Personal collection
CD: 2007 private

The CD comes in a digi-pak, and at one point was available from CD Baby, where I purchased mine. You can still get a download version, but the CD has gone extinct. But I'm not sure who bought it other than me. I added this album to Discogs over 2 years ago, and remain the only owner, with precisely zero people wanting it. On RYM, 2 of us own it (the other being a friend there) and has all of 3 ratings. Gnosis has 3 ratings as well including mine. A tragedy an album like this is so unknown.

Aquarelle - Live a Montreux. 1979 Canada

For their second album, Aquarelle took the unusual step - at such an early stage of the band's career - of releasing a live album. Even though it is a live recording, most of the material is entirely original with the exception of the closer. Throughout this engagement, the composition style is similar to Sous un Arbre, except there are obvious ploys to appease the jazz crowd, perhaps to be expected at such a famous jazz festival. For example there’s the inclusion of electric piano, more soloing (especially saxophone), the addition of some funk (which was popular then), less female voice, and the electric bass playing has more of that "warm" jazz sound as opposed to the more direct rock approach of the debut. All of these are slight distractions from the special sound of the first album, and thus rates slightly less, but scores a little better with traditional fusion fans.

The newly penned tracks 'Second Réveil', 'Récital des Grenouilles', and 'L'Étranger' are all excellent and would have been fine additions to their prior effort. The only disappointment is 'Estérel', where 'Part I' is a snoozer of a chamber-like piece and 'Part II' is really annoying, where the sax honks and the new female vocalist caterwauls her way through it. This leads to the raucous closer, the 9 minute extended version of the riveting 'Magie des Sons' from the debut. One of Aquarelle's best tracks, the extra time is padded with an incredible piano concerto from bandleader Pierre Lescaut (my, what a talent!) as well as a bit of a drum/violin hoedown. Pierre Bournaki is clearly the other great talent in the band. The crowd really seemed to love it as well.

As noted above, the album scores a notch below the studio effort, but is still not be missed by fans of crossover jazz fusion and progressive rock.

Personal collection
LP: 1979 Atlantic

There does exist a CD on Belle Antique from Japan. The source was provided by the band. I didn't hear this CD, but if their version of Sous un Arbre is any indication of the quality, I'll pass. Both of these really need to be reissued properly.

Warhorse - s/t. 1970 England

The debut of Warhorse is quite a powerful tour de force for 1970. Bassist Nick Simper is the big name here, coming fresh off his firing from Deep Purple. Probably no surprise then that vocalist Ashley Holt is a screamer in the Ian Gillan mold, by then certainly Simper's arch enemy. The band also originally had Rick Wakeman in its ranks, but replacement Frank Wilson pounds on the organ with the best of them. But it's guitarist Ged Peck who steals the show here, and lays out a blueprint for the riffing style that was to come years later. There's little from 1970 that has the pure force of 'Burning', the album's highlight along with the raucous closer 'Woman of the Devil'. Of the 7 tracks here, 5 are excellent or beyond. 'Ritual' is, as other's have noted, a bit too close to 'Mandrake Root' for comfort. 'St. Louis' is the only skip over track as it sounds like Deep Purple playing with.... The Partridge Family. I'm serious! Two small marks on an otherwise brilliant hard rock album, a pioneer of the genre honestly.

Personal collection
CD: 1999 Angel Air

The CD comes with excellent liner notes and photos and 5 bonus tracks. 4 are live versions from the album proper, and the other is the demo track 'Miss Jane', which was best left on the cutting room floor.

Nova Express - Space Khmer. 1987 Germany

Germany's Nova Express, a common band name derived from William Burroughs' novel title, are a band I first heard about from Freakbeat in the early 1990s. Opening track 'King & Princess' reminds me quite a bit of early Amon Duul II - especially the shorter songs as found on Tanz der Lemming or Carnival in Babylon. This element becomes apparent in the psychedelic guitar work and the heavily accented male vocals. The organ they employ is actually an older vintage than what Amon Duul II used. Throughout the LP, one will also detect some influence from the post punk crowd of the early 80s, which shows in the songwriting. Nova Express goes toe to toe with, and even predates, some of the best UK neo psych bands of the era, such as Sun Dial and The Bevis Frond. Overall, a very good neo psych / neo Krautrock album that time has completely forgot.

Ownership: LP: 1987 Syndicate. Single sleeve. Online acquisition (2003).

This album was quite difficult to find back in the 90s.  But surprisingly not so tough these days. It's hardly a common press, and there lacks any kind of reissue (as of 10/6/24). There's just not enough demand I suspect, which I'm willing to bet means it's more unknown than unwanted.

2003 (first listen); 1/19/11 (review); 5/4/19 (update / new entry)

Nova Express / Nick Riff / Submarine Prophets - Freakbeat No. 8 (EP). 1993 Germany / England

This EP came free with issue number #8 of Freakbeat released in 1993 by Delirium Records, who were at their height back then. I've owned the vinyl pretty much since then, but I don't think I ever played it! Recently I found it hiding in my copy of Nova Express' Space Khmer, an album I was in the process of revisiting.

What we have here, perhaps no surprise given the source, are 3 excellent neo psych tracks. I would not have recognized Nova Express in this setting. At this point they have female vocals and the music is much more straightforward then their two more Krautrock influenced albums (though make no mistake, both are heavily entrenched in the neo psych trends of the day as well). Nick Riff has a lot of albums, none of which I'd heard prior, but based on the strength of 'The Limitless Light' I'd certainly be up for hearing more from him. Submarine Prophets is a completely new name for me, and it appears they have 3 EPs out as well. Again 'Green Cathedral' has all the earmarks of the time and place when talking 60's psychedelic revivalism.

Well worth the time to adjust your table to 45 RPM.

Personal collection
EP: 1993 Delerium