Hecenia - La Couleur du Feu. 1994 France

Hecenia's sophomore album La Couleur du Feu is exactly the type of progressive rock that has fallen out of favor with the cognoscenti. The sound and textures scream early 1990s technology. Vintage analog was out, and new shiny and bright was in. And while there are few among us who favors the old instruments of yore more than moi, I have no qualms in stating that I love the early 90s progressive rock renaissance. And La Couleur du Feu is one of the finest albums from that era. There are stunning piano driven melodies here, along with harp, and a hyperactive rhythm section. The all instrumental album is always on the move, and never a dull moment arrives. If Trilogy of Here It Is fame had continued on into the early 90's, La Couleur du Feu would be a reasonable facsimile of what we could have expected. A stunning album really, and an exponential leap from their awkward debut.

Ownership: CD: 1994 Musea

1994; 7/21/19 (new entry)

Tangerine Dream - Exit. 1981 Germany

Exit was the Entrance for me. While still in high school in 1981, I was first introduced to Tangerine Dream by a band mate. Exit was the newest album at the time, and off I went to purchase the LP. The music was very foreign to me back then, and I flipped that record over hundreds of times to let it penetrate. Something I think we all probably should do more today, but who has the time? The haunting narration of 'Kiew Mission'; the choppy synthesizers on 'Pilots of Purple Twilights'; the pounding 'Choronzon' (my initial favorite from the album); and finally the moody and ultimately most representative Tangerine Dream track for the era: 'Remote Viewing' (my current favorite). I'm probably the world's biggest fan of Exit, an album not highly revered by fans of the group. But it's inescapable for me, given my history with both the band and this album. The next Tangerine Dream album I bought? Rubycon. My world would never be the same again. And here we are some 37 years later. Yea you're damn right Exit was important to my musical appreciation development!

I just remembered that I'd written a review of Exit for Gnosis way back in the summer of 2001 (has it really been 18 years? A lifetime ago). As you can see, a lot of overlap, but perhaps more detailed:

-----

It was 1981, the Fall semester of my junior year in high school. We were about to start playing a pickup football game when I heard from the car cassette a very interesting music. The owner, who I played in jazz band with, said "Oh, that's Tangerine Dream. Pretty weird stuff, eh? I'm just starting to get into them." He was playing the soundtrack to Thief. Curious, the next day I headed over to my local Sound Warehouse and discovered a band with many, MANY titles. Where do I start? Logic dictated I started with the latest release (at least of the ones they had). And $5.99 later I was home with Exit.

Exit proved to be difficult listening at first as I wasn't used to this sort of atmospheric music. Like most people, the music that I had heard was much more "in-yer-face". Even bands like ELP and Yes are that way. Tangerine Dream is a different kind of listening experience. So naturally on the first few listens, upbeat tracks like 'Choronzon', 'Pilots of Purple Twilight', and 'Network 23' had the most impact. 'Choronzon' was even being used as background for a local newscast's advertisement! But it was the longer, curious compositions such as 'Kiew Mission' with it's heavily accented Russian female narration (2019 edit: performed by an unknown German actress) with bizarre electronics - and 'Remote Viewing' which included odd melodies and sequencers that ended up being the kind of music I wanted to explore further. And time was something I had. There was no cable television and no internet - and certainly no money. So when an album was purchased it was pretty much guaranteed quite a few spins on the turntable, especially something new like Tangerine Dream!

Ownership: LP: 1981 Elektra. Single sleeve. Acquired at Independent Records (2021). The first copy I purchased was new, as noted above, at Sound Warehouse in Dallas.

CD: 2020 Virgin / Universal. As part of the box set that I detail on the White Eagle review. 

1981; 7/3/01 (Gnosis); 7/21/19 (new entry)

Jordsjø - Nattfiolen. 2019 Norway

Let's make it 3 years in a row. In 2017 Wobbler's From Silence to Somewhere was my choice for album of the year. I don't think it will be topped, but one never knows as obscure albums trickle in all the time. Last year we rambled on about All Traps on Earth, in effect the 4th Anglagard album, and subsequently named it album of the year for 2018. It's definitely beatable, but at this time, no challengers have emerged. And now Jordsjo follows the same path with their 4th album Nattfiolen. No point in making the same statements as I have on the prior 2. We are talking old school, dyed-in-the-wool symphonic prog of the 1973 variety with no nods to modern instrumentation. Vintage is as vintage gets. Jordsjo isn't quite as strong as All Traps on Earth, but it's so difficult not to love this style of music, no matter who's performing it. But then again, I was always the top Sinkadus apologist.

This is Jordsjo's finest hour to date, and a very promising direction. For all other bands: It's OK if we have more than one album a year like this. Really.

CD: 2019 Karisma

Comes with booklet containing lyrics.

Sebastian Hardie - Windchase. 1976 Australia

Windchase is the middle album between Four Moments and Symphinity, and has always been my least favorite of the three. Which is not the same thing as saying it's not any good. It most certainly is great actually, but less dynamic than the bookends. No one could craft a sentimental melody like Mario Millo, and Windchase is the perfect album to wind down a hard day with a glass of wine and a moment of fond reflection. It's truly beautiful music within a progressive rock context. The band was - and remains - a hidden treasure.

Ownership: LP: 1976 Polydor. Single sleeve. Online acquisition (2009). 

CD: 2011 Belle Antique. Papersleeve edition with one short bonus track.

Former ownership: CD: 1990 Mercury (Japan). Jewel case.

Interesting to note that Windchase has never been reissued in Australia.

1991 (first listen); 2/23/12; 7/21/19 (review / new entry); 8/1/23

Mogul Thrash. 1971 England

Mogul Thrash is most famous for being the point of entry for a one John Wetton, though in reality this was guitarist James Litherland's band fresh off his stint with Colosseum. Brian Auger is on hand for direction and some piano. Future Average White Band members provide the horns. Auger/Colosseum provides a good guidepost for the musical content as well, with the added attraction of the aforementioned horns, giving us that unique UK brass rock feel. 'Elegy' is a stunner, with another highlight in 'Going North, Going West'. A very good album that remains quite surprisingly under the radar.

CD: 1999 Disconforme (Andorra)

One would think an album with such a blue chip pedigree would be better served in the reissue market. Not the case. Finding the CD at an affordable price (and not scratched up) can be a challenge. It took me a few years to secure mine, though I'm not sure demand is soaring. Because of this, and the album's notoriety, pirates own this title with multiple bootlegs on LP and CD proliferating about. I keep expecting Esoteric to put this one back on the shelf, but perhaps the pirate market killed off that chance. The Disconforme CD is no great shakes, lacking even their usual liner notes, but at least it's legit and features 4 relevant bonus tracks. They altered the original track order as well*.

*Back of the CD states: "Due to the time limits of the original vinyl, the track list was selected by the shortest takes. Now the producer, after a deep checking of all the tapes, made a definitive selection of the best releases."

In addition to the above remarks, Disconforme also added their sole single 'Sleeping in the Kitchen' (1970), a very representative track that would have fit well on the album proper. The flip side is 'St. Peter' which is taken from the album direct.

Hy Maya - The Mysticism of Sound & Cosmic Language. 1972 USA (archival)

Here's an interesting archival release. Cleveland based Hy Maya were the forefathers to a one Pere Ubu. Though the comparisons stop there, except one can state each band were experimental in their own way. But Hy Maya is not something you hear often in America. This title came to me as a recommendation based on my observations and review of the Belgian band Kosmose. And really those guys who steered me here were absolutely correct to do so. The Mysticism of Sound & Cosmic Language is unhinged psychedelic creativity. And like Kosmose, it's a very difficult listen. Albums like this need to be put on in the background and just let 'er go. Maybe for a long car ride in the desert, or background to the daily chores. Forget songwriting and melodies. I cannot think of another band from the USA like this - maybe Moolah, though that certainly was more geared toward an album experience. These recordings, because of their archival nature, weren't meant to be released. It was a point in time. I suspect the USA had much more bands like this that remain undiscovered - we think all the way back to the great Beat of the Earth in 1966, yet another fair comparison. We tend to associate this kind of unabashed experimentalism with the Germans, and that's where one should put their listening compass when taking on this long 90 minute set. Whew! A good pickup for those inclined to these sort of sounds.

CD: 2017 Smog Veil

The CD is filled to the brim with historical information. Exactly the right way to do an archival release such as this. The sound is surprisingly good as well. There's also a 2LP set, that appears to have the same track listing.

Megadeth - So Far, So Good... So What! 1988 USA

As noted on my scribbling about Peace Sells, Megadeth is a band I largely ignored during their classic 80s thrash years. As I began to research this title, it became apparent that the general consensus is So Far is the weak link between their two recognized lauded titles Peace Sells and Rust in Peace. This comes as a surprise to me, as I hear the album no better or worse than the others. The opening two tracks alone set the table quite nicely. 'Into the Lungs of Hell' is a fully developed instrumental -  an unusual opening move - which then segues into the brilliant 'Set the World Afire'. I found the riffs here to be inventive and exciting. 'Mary Jane' is another highlight which adds in a distinct psychedelic element, not surprising given the title. Not sure I can name too many tracks from the 80s thrash era that incorporated 60s psych into the mix. The one track that seems to escape criticism is the slower and heavier 'In My Darkest Hour' (dedicated to Metallica's Cliff Burton). But if there's one thing I've noticed about thrash albums, it's the slower tracks pack more punch because of the setting. The constant fast pace takes a toll on the ears after awhile.

So what seems to be the problem here among the fan base? One common criticism is the production. It sounds perfectly fine, crisp, and thick to me. But then again I'm listening to the 2004 remaster and not the original. I'm left to guess then that much of this was improved upon. Or not, and folks still don't like it. Then there's the cover of The Sex Pistols' 'Anarchy in the UK'. It seems everyone loses their mind here, as they want to dis the album, and this gives them the ammo they need to do so. It's a pretty straightforward cover, and yes I'd agree it's entirely unnecessary. The problem is it's an awful song by an awful group. Not to say The Sex Pistols don't have their place in history, but songwriting isn't what they built their legacy on. One 3 minute skip track doesn't ruin the whole barrel.

For me, coming to this album some 31 years later, with no preconceived notions nor any kind of peer pressure, I thought it excellent. Lucky me I guess.

CD: 2004 Capitol

Excellent reissue with Mustaine's notes, photos,and lyrics.

Megadeth - Peace Sells... But Who's Buying? 1986 USA

My history with Megadeth pretty much begins and ends with their debut. I bought the highly anticipated Killing Is My Business... And Business Is Good! upon release, and was very disappointed at the time. Not sure why that was the case, but if memory serves, it all seemed a bit lightweight for 1985. Recently I bought a pile of classic thrash metal CDs for pennies on the dollar, and many were from Megadeth. Except for Killing... so it might be awhile before that puzzle gets solved. I suspect my opinion will have changed greatly.

And so in 1985, I just quit on Megadeth right then and there. Ha! So here we are some 33 years later with their sophomore outing, and I have a bunch of Megadeth to catch up on apparently (which works out, as noted above)... I don't have a whole lot to say here, except this really is the thrash classic others claim. It's very catchy as well. Back in 1986 it seemed to me there was Metallica and then... everyone else.

CD: 2010 Capitol (Argentina)

This is the same release as the 2004 remaster with insights from Mustaine, lyrics, and photos. Excellent reissue.

Dschinn - s/t. 1972 Germany

Oooh. Dschinn (Genie), now here's an album I had no use for in my initial foray into Krautrock back in the mid to late 1980s. As I stated in my Dschinn Fizz (unrelated band) review, I bet my view on this original band with Dschinn in the name will have softened considerably. I've said it often in these pages, but it bears repeating, Krautrock means different things to different people. And Krautrock most assuredly did not mean hard rock to me!

With the super Dali cover art, a mysterious name like Dschinn, and an imprint on Bacillus from 1972, the results could only be stellar. I couldn't get away from this album fast enough. What is this? I cried. And the answer is - it's a hard rock album. Plain and simple. Not even any organ or other keyboards, like most bands from Germany at that time. Nope. Just guitar fronted in-yer-face hard rock with some bluesy overtones. Not a progressive rock moment to be found. Today I appreciate this kind of basic early 70s hard rock, more commonly found in England than Germany back then. It's a keeper now, but 30 years ago - no way.

LP: 1972 Bacillus

Scored a NM original recently for a fraction of going rates. With that cover and provenance, this one will stick around for quite some time.

Robin Trower - Twice Removed from Yesterday. 1973 England

In my notes for Victims of the Fury - written late last year mind you - I stated: "If there's an artist I need an "Original Album Series" CD set of, it's Robin Trower. He's just one of those guys I pretty much ignored throughout my life. And for no good reason, especially considering how much I love Bridge of Sighs, and have so for over 30 years." As if reissue labels read my blog, lo and behold that event happened earlier this year! And I have now secured said box set, and licking my chops as to what I will discover. It will be a slow process, but it has begun. And where to begin? At the beginning of course.

Twice Removed from Yesterday is of course that album, and it's my loss that I hadn't heard it until I'm in my mid 50s, yet I was completely familiar with the artist going back to when I was 15 years of age. James Dewar has one of the all-time great smooth blues rock voices, and of course Trower brings with him the ghost of Jimi Hendrix, one of the rare guitarists to continue down that path as late as 1973. Every track here is a gem and a joy to listen to. I look forward to the rest of the set!

Ownership: LP: 1973 Chrysalis (USA); CD: 2019 Chrysalis (box set titled The Studio Albums 1973-1983). The box set is pretty basic, with no liner notes - a big missed opportunity right there. However you get 10 studio albums of Trower, the last two with different line-ups. They all come in simple slip covers with original artwork. I paid less than $25 for the box sealed (incl shipping), so at $2 and change for each album, it's the perfect bargain for a dope like me who missed out on most of his work. For the record, I've owned Bridge of Sighs for nearly 35 years. Victims of the Fury was a recent garage sale find and is what triggered my reawakening. Not long after Bridge of Sighs, I had purchased For Earth Below and didn't care for it then (I suspect that will be rectified soon enough), and thus I stopped there. Had it all figured out when I was 20 - yessir! 

In March of 2021 I picked up the US single sleeve original LP at an estate sale. 

Jiro Inagaki & His Soul Media - Head Rock. 1970 Japan

If you're at all familiar with the Japanese jazz scene of 1970, then Head Rock will come as no surprise. Albums like this were seemingly extinct at one point, until recent times have spotlighted the scene. Not that dissimilar from the film library albums coming out of Italy, Head Rock mixes jazzy instrumentation with psychedelic rock guitar and rhythms. The melodies are relatively safe, and this is no mindblower on the same scale as some of the Japanese albums from this era (British Rock Live in Japan, Genshi Kyodotai, etc...). But for grooving headphone bobbing moments, it's a pleasant ride.

LP: 2018 Columbia / Takt Jazz

Brilliant reissue with a thick gatefold cover. Originals, naturally enough, will cost you a mortgage payment - or 3. Best to stick with the reissues here I would think. There are 2 each for CDs and LPs. And while never cheap, at least affordable.

Athem - The Extended Mind. 2010 USA

Athem's sole album The Extended Mind is an intriguing prog metal album from southern New Jersey. There's no question of their east coast heritage, and the music fits squarely in the Dream Theater and Symphony X school. The two lengthy tracks 'Enigmatic Reverie' and 'Lifting the Veil' have some pretty incredible segments that are jumpy and exciting. These guys clearly know how to play, and they have an imagination to take the music in radical directions, without resorting to genre hopping or hipster cutups. Some of the other tracks balance commercial styled metal with neo prog. The recording is over an hour long, and most of the tracks are quite lengthy. As such, this is the type of album that requires multiple listens to penetrate. We're still working on it.

CD: 2010 Dust on the Tracks

The CD is housed in a fine digi-pak.

The Doors. 1967 USA-California

The older I get, the more I have become to realize that the "big name" bands of the late 1960s are really not to my taste. Bet you thought I'd say the opposite. It's something I hear quite often among my age group and older, just how much better the music was back then. Utter nonsense I say. You just have to dig harder for it - and that's been the case ever since I first started collecting in earnest in the early 1980s. But in the late 60s, FM radio was all one really needed.

With that out of the way, The Doors are proving to be the exception for me. I'm really starting to enjoy not only their hits - something I've always had appreciation for - but also their more obscure album cuts. I've recently picked up the entire Doors catalog (Morrison era) of remastered CDs, and will be revisiting all of them. Though I'm rather certain my favorite will remain this debut - an album that is groundbreaking as it is enjoyable. That's a rare combo actually. Sgt Peppers was groundbreaking, but I get bored with it. Zappa/Mothers of Invention's Freak Out is even more pioneering. I can barely listen to it. The Doors though. Yea, wow. After all these years, I still get goosebumps listening to the instrumental section of 'Light My Fire'. I don't know how that's even possible. Whatever - you know this album already. Just wanted to join the chorus for once and state I agree with its lofty reputation.

CD: 2007 Elektra / Rhino (40th Anniversary edition)

My first copy of the album was purchased while in high school. Whatever was in print during that time (early 80s), is what I would have purchased. I eventually let it go, figuring the "Best Of" is all I really needed. Until now. I really love the remastered version, but I imagine its quite controversial among the fans. Apparently the original version was released slower than intended. So it's been pushed up to its original intended speed. It's a bit disorienting, but sounds really great to my ears. I'll keep the Best Of anyway, just for the contrast - and the familiarity. The CD has a detailed booklet on the recording and the history of the band. Oh, and there are bonus tracks. Excited to explore the rest of this series.

1982; 7/21/19 (new entry)

Le Orme - Felona e Sorona. 1973 Italy

Le Orme's fifth release (and 3rd progressive album), Felona e Sorona, is generally considered their masterwork. The album is progressive rock by the numbers: 1) A heady concept with fantasy lyrics; 2) One long composition broken into nine subsections; 3) Keyboards galore featuring Mini-Moog, Mellotron and the familiar organ. The "formula" track as found on Collage has now been turned into an album length exercise. Going about it in this way, Le Orme came up with a fail-proof album that stills satisfies today. While it would be easy to pass off Felona e Sorona as a typical pretentious progressive rock album typical of the day, few deliver the goods as well as Le Orme. As with any ambitious project such as this, there is plenty for the listener to sink their teeth into. Many dynamic changes between the singer-songwriter tendencies of Aldo Tagliapietra and the bombastic keyboards of Tony Pagliuca. However what possibly keeps Felona E Sorona from the top echelon is the lack of allowing creativity and experimentation into the mix, so it appears most of the album seems restricted by an unspoken protocol. Exceptions to this are the eerie 'Attesa Inerte' and the ambitious closer 'Ritorno al Nulla', both reminiscent of the Uomo di Pezza balance of soft composition, jazzy grooves, and heavy rock. Overall, another classic Le Orme album and a must own for fans of Italian progressive rock.

Ownership: LP: 1973 Philips; LP: 1973 Charisma (UK); CD: 2001 Philips (Japan). My first exposure to this album was the English language version with I picked up at a local Dallas store in the late 1980s. Some years later, I finally got the original Italian LP. Both feature the same beautiful gatefold cover. The mini-LP CD replicates the original to the finest detail.

3/11/01 (Gnosis); 7/19/19 (new entry)

Message - It'll Be Awhile. 1981 USA-New Mexico

Albuquerque, New Mexico based Message were an excellent example of the progressive hard rock style that had a small niche audience in the late 1970s and early 80s. It's mainly hard rock at the core, but is slightly complex and has a few more ideas than the usual run of the mill bonehead albums of the era. The tracks are mostly compact (with only two going past 6 minutes), so no elaborate themes nor delusions of grandeur here. Think Side 2 of Rush's 2112 as an example. The Texas band False Prophet is another good reference (an archival CD that Shroom put out a few years ago). One can only hope that a full canister of recorded music awaits discovery. A superb album that is still quite unknown.

Ownership: LP: 1981 Black Gold. Single sleeve. Numbered edition. Recent online acquisition (2019). There are two covers for the album. Mine (which is the copy shown) has a white strip with 1982 copyrighted.

I went to New Mexico in 1992 with one purpose of finding this album, and none were to be found. Though I did discover Genre instead from the same label (there were many sealed copies back then, and I only bought one, having no idea what it was. Sigh). No reissues exist (as of 1/17/24).

1/25/11 (CDRWL); 7/19/19 (new entry)

Deja Vu - Cosmic Zack. 1977 Germany

Cosmic Zack is an obscure progressive / fusion release from Germany circa 1977. Typical of many private releases from late 70's Deutschland, Déjà Vu attempt a Novalis style of progressive rock. The primary instrument is electric guitar and is accompanied by electric piano, sax, flute, bass and drums. There are also vocals with a traditional heavy Teutonic accent (some in English, some in German). Fortunately, side two eschews the vocals for a more energetic instrumental approach. Musically, the band plays a safe, straightforward and somewhat jazzy (especially side 2) progressive music with some well done guitar/sax work. File along with Credemus, Poseidon, Eden and a host of other German bands from the late 70's/early 80's.

Ownership: LP: 1977 private

Sold this one off years ago for a tidy profit, though I probably would have kept it today. 

Still not reissued as of 6/11/24

3/29/01 (Gnosis); 2008; 7/19/19 (new entry)

Astre - Foresight. 1981 USA-Oklahoma

Astre were a band from Tulsa, Oklahoma who released only this sole before disappearing. Multi-instrumentalist Bill Tankersley is the only one to have recorded beyond Foresight, putting out two true solo cassettes in 1984 (one under the name New Warmth). There's also a band named New Fire Ceremony credited to him, who released one industrial (?) album in 1993.

Foresight is an horrendously under-produced album. However, behind the mess, is a superb complex progressive rock album. One hopes for better tapes to emerge, and a fresh CD reissue to take the grime off of this gem. It's difficult to appreciate as it is, unfortunately.

Ownership: LP: 1981 Akustic 

I sold off the LP years ago to no regret. Still awaiting for more music to appear. No reissues exist as of 6/12/24

7/19/19 (new entry)

Birth Control - Operation. 1971 Germany

When I first heard Birth Control's second album Operation, I wasn't too impressed. This would go back to my original journey into the depths of Krautrock in the late 1980s. And why is that? Well... I had expected the album to fit the aesthetic of the Ohr label, and the cosmic and experimental Krautrock I had come to expect from groups like Ash Ra Tempel, Annexus Quam, and Guru Guru. Birth Control is nothing of the sort. Truth is, had Operation been on Philips, Polydor, or Bacillus, the album probably would be more well received. As I've written in many a place, Krautrock is a wide reaching term that can be interpreted in different ways. And in the world of the collector lists of the late 80s, Krautrock often meant "hard driving rock with organ and guitar". That was something I didn't understand back then, and honestly it wasn't much to my taste either.

About a decade later, when the hard-driving-rock-with-organ-and-guitar sounded good to my ears, Operation at that point found a comfy spot in the collection. And when one considers that particular genre, Birth Control shines quite bright. The first 5 tracks are similar in their high energy, heavy, but still progressive rock sound. The organ, clavinet, and guitars are raucous, and the vocals are rough - and ready for trouble. The final 11+minute track 'Let Us Do It Now' is a curve ball, offering up a different side of the band. More towards lounge and even classical - I still find it satisfying on many levels, though it remains the weakest cut. And out of place honestly.

Overall if you dig that 1971 German heavy organ/guitar lead styled Krautrock - and there are many of them - then add Operation to your list. Don't let that Ohr label moniker throw you.

LP: 1973 Ohr
CD: 1997 Spalax (France)

Originals come in a fine gatefold cover, with typically grotesque Birth Control styled art. My copy is a 556 press, so it's from a couple of years later. Essentially it's the same as the original in every way otherwise. I was surprised to learn that the Spalax reissue of 22 years ago was the last CD to market (there had been 3 presses prior), and now the bootleggers have entered in. This version of the CD is nothing special anyway - straight reissue with no extras. Just nice to have for the road.

Korai Orom - 2005. Hungary

Korai Öröm 2005 is the 6th album (or 7th if one counts the first cassette) from this fine Hungarian band. Though I have dutifully picked up every album they've released (save their last 2013, so total of nine), I can honestly say I recall little about each. The one that had the great impact here is 1997. In recent years I've gone back to the debut (1995) and 2000 - Sound & Vision, and both fell into a similar pattern which I'll describe here shortly. As memory serves, 2005 was one of the very best, perhaps only second to 1997 in quality. After this revisit, I'm hoping that's not the case.

Listening to this CD now, it's as if I'd never heard the album before as I had no prior memory of it. Just the style. And I fear to say that will be the case for most of the Korai Öröm catalog. In reality, their sound hasn't deviated much from the debut, so it's really a matter of the execution and dynamism of each. So what is that sound? Organic psychedelic dance music, for a lack of a designation more official. And what I mean by organic is they they use real instruments verse just samples, synthesizers, and the like. Because of this, Korai Öröm are often compared to Ozric Tentacles, and in some ways that is a fair conclusion to make. Ozric though were more informed by the 70s space rock bands such as Gong and Here & Now than only considering modern dance music. They blended both seamlessly (and often times just went raucous space rock). Korai Öröm takes an Ozric extract and applies it more toward the rave club circuit. The instrumentation and personnel is impressive, with a variety of indigenous wind and string instruments, a raftful of modern keyboards, electric guitar, additional percussion, and a pounding rhythm section. Along with guest female vocals.

After hearing '2005/1' you'll know if this is your cup of tea or not. The band doesn't extend the style palette much, however the music definitely is varied. The biggest issue I have with Korai Öröm is that they should let loose more in the rock sections like the best bands in this genre do (Ozric, Dasputnik, Quantum Fantay, Vespero). It seems they're always holding back, constantly building the atmosphere and not allowing for more ideas and changes to come forth. It also seems there isn't much in the form of music composition but rather Korai Öröm are more about texture and sound. Yes it's still excellent in aggregate, but one begins to think how much better it should have been.

Personal favorites include the pounding '2005/4' and the exotic, psychedelic, and tuneful '2005/7'.

Ownership: CD: 2005 1G Records. Jewel case with booklet that features a fine selection of band photos.

1//2006 (first listen); 7/18/19 (review / new entry)

Vital Duo - Ex Tempore. 2001 France

Minimum Vital were (and remain so to this day) one of the key elements of the French progressive rock renaissance that first occurred in the mid 1980s. They blended instrumental fusion, hard rocking guitars, and Medieval themes to create something wholly unique. After 5 successful albums and countless niche festivals, the engine of the group - the Paysson brothers - decided to cut some trimming and go right to the core unit. Vital Duo was born. A short lived project, Vital Duo managed this one album before going back to their main brand of Minimum Vital.

It doesn't take long to figure out that Vital Duo is the work of the Paysson's. Their distinctive patented sound is all over this, and it makes one wonder what the other band members were contributing in the first place. At the beginning it seems a bit superfluous, but by the time of 'Chanson de Trouvère' you'll find yourself emerged deep within their vision and sound. Jean-Luc provides most of the stringed instruments including some fiery electric guitar, whereas Thierry brings the keyboards. Both sing as they did on their early albums and Jean-Luc covers the drums and percussion. Of those keyboards, the most fascinating and distinctive is the Digital Church Organ, which is the most prominent keyboard here. It plays right into their Medieval concept.

If you're a fan of albums such as Sarabandes and Les Saisons Marines, then Ex Tempore is an easy recommendation.

CD: 2001 Musea

The CD includes a nice booklet filled with detail. Like many such albums, I purchased the CD close to release date, heard it a couple of times, and filed. Some 15 years later comes the revisit. I didn't recall much about it from the first round of listens.

Astrud Gilberto - The Shadow of Your Smile. 1965 Brazil

Albums like this connect with my inner 6 year old I think. I was less than one years of age when this was released, but it was just this kind of music that I would hear when with my parents at some restaurant or cocktail party (Dad was in sales, so picture that scene for 1970...). I was exposed to the adult world early in life, which was unusual for its day. So in my naive little world, beautiful sweet females dominated the music scene, and it was Astrud Gilberto leading the way. Not that I had any idea of that back then, or even until very recently. Her voice and this music goes deep to the core and I feel it like a cat who hasn't seen his former owner in 5 years. Favorite track from this set: 'Fly Me to the Moon'. When Jet Setting had real meaning. Sigh.

Ownership: LP: 1965 Verve (UK). Estate sale find (2019).

7/18/19 (first listen / review / new entry)

Fruupp - Seven Secrets. 1974 Northern Ireland

Seven Secrets is the second album from Northern Ireland's favorite sons Fruupp. As you will often read, this album has something of a bad reputation and is to be avoided (even 1 star reviews, suggesting it's awful). But honestly I feel it's unwarranted. The first two tracks totaling near 16 minutes are great - very much in line with the 1973 progressive rock landscape. Certainly not as heavy as their debut Future Legends, but then again Fruupp never did go back to that type of sound, similar to Gravy Train and Jonesy in that way. I enjoy 'White Eyes' as well, a bit too orchestrated perhaps, but nonetheless a solid entry. Side 2 kicks off with 'Garden Lady' and yet another 9 minute excellent progressive rock track is presented, following in the footsteps of 'Wise of Wisdom'. And then... it breaks down. But not terrible by any means, just more of an ordinary rock sound with folk and Baroque elements. To my ears, they were foreshadowing their next work The Prince of Heaven's Eyes, which in my mind is the weakest of the Fruupp quartet of albums. 'The Seventh Secret is a throwaway closer, not that dissimilar from many a duff closing moment that talented artists felt compelled to do - for no known reason. As I have mentioned many times in the past, you will find albums that close poorly (and in this case the last 15 minutes), are more likely to receive a negative reaction than those that finish strong - no matter what the contents prior were (Tarkus anyone?). Last impressions I guess.

I see Seven Secrets as a solid effort, with close to 25 minutes of excellent material, and the other 20 as good to very good.

CD: 2004 Arcangelo (Japan)
LP: 1974 Dawn

The CD replicates the original in every way including the textured single cover and original insert. And I also own the Prince box from Disc Union, which is storing all 4 Fruupp's and Demon Fuzz (of all albums). I think Noir's album was part of this set too (another odd choice), and Modern Masquerades wasn't, but I wanted them altogether anyway.

This is the only album by Fruupp that I don't own the original LP. I did have it once, but it wasn't in very good shape and sold it off 25 years ago. I'll buy it again if a nice copy shows up for the right price.