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

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

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

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

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

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

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

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

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

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

11/30/19 (new entry)

For a Few Fuzz Guitars More. USA

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

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

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

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

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

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

11/30/19 (new entry)

Finisterre Project - Höstsonaten. 1997 Italy

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

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

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

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

Embrace - Coven the Eternal. 1996 Canada

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

CD: 1996 private

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

Arch / Matheos - Winter Ethereal. 2019 USA

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

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

CD: 2019 Metal Blade

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

Spring + Spring 2. 1971 England

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

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

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

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

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

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

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

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

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

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

Collegium Musicum - Collegium Musicum + Konvergencie. 1971 Slovakia

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

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

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

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

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

11/28/19 (new entry)

Splash 2. 1978 Sweden

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

CD: 2019 box set released by the band.

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

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

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

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

CD: 2018 private

Artcane. 1977 France

Artcane's sole album is generally regarded as nothing more than a King Crimson meets Pink Floyd ripoff, and as such is not worth pursuing. Of course students of the genre know there was far more happening in the late 70s French music landscape than mere plagiarism. The album is primarily instrumental, built on complex meters, and utilizes spacey textures. And well, if that doesn't ring a bell or two eh? For starters, Artcane certainly lent an ear to Pulsar's first two albums. But anyone familiar with Metabolisme, Terpandre, and Carpe Diem will also recognize the familiar pattern laid out here. And Artcane basically crafted the blueprint for future intrepid travelers like Nebelnest, Taal, and Priam.

LP: 1977 Philips. Gatefold. Mail order acquisition (1992).

CD: 2018 Musea. Digipak. Features one live lengthy 15+ minute "medley" track - recorded in 1976 and mostly features raw versions of what was to appear on the album proper. Definitely a nice addition. Pity about the lack of history, photos, and other goodies though. Better than nothing for CD only collectors of course, but Musea aren't the same archivists as they once were when Frances Grosse was still with them.

1992 (first listen); 1996; 9/26/17 (review); 11/2/19 (update)