T.N.T.H. ~ France

Let's Go Children of the Country (1971)

T.N.T.H. were a band from France who released this one memorable LP, resurfaced a few years later with a single, and then disappeared without notice. Given the moniker, one would presume it to be an acronym of some sort. What it stands for is anyone's guess, as it would appear to be a closely guarded secret. It doesn't seem to come from the members names. Perhaps it's a play on the word "tenth", with a grammatically incorrect acronym to support. Does it matter?

So what do we have here with the 1971 release Let's Go Children of the Country? A cross of Chicago styled horn rock and a type of instrumental funk. It's the latter that opens up the album, the two part 'Hippopotamus' has an infectious groove that just won't quit. If you're not dancing your brains out on this one, or at least imagining such a thing - then time to check the ole pulse to see if you're still here. The closer, the namesake T.N.T.H., is the perfect horn rock instrumental, with jamming rhythm guitar and killer horn solos. The highlight track for me anyway. As for the other songs, they too are excellent, more song based (with occasional vocals) than the bookends. A great album as far as I'm concerned.

Ownership: 1971 Barclay (LP)

No legit reissues as of 3/24/25.

12/25/19 (review / new entry)

Granada ~ Spain

Valle del Pas (1978)

Valle del Pas is Granada's 3rd and last album. It is also one of the most important records in my entire collection. Like many obscure European progressive rock albums, I found this new in a record store in early 1988. It was, as it turns out, the very first album I ever owned from Spain. An unlikely choice, Granada is not really a band that represents Spain in the more traditional sense like a Triana or Medina Azahara would be. Even the name is confusing to outsiders. Granada being most known as the last great city of the Moorish Empire. Given its place in history, it would seem Granada would indeed be quite representative of the Spanish sound. Ah, but Spain is a very diverse country. The first good clue is the album cover itself. Men in heavy coats in a lush dark green field, one playing the bagpipes. What one would associate with the Celtic regions of Espana like Asturias, Cantabria, or Galicia. And... Granada is also the name of a fruit, that which translates to a pomegranate. There you have it.

The album itself is brilliant, but subtlety so. Each track is packed with many ideas but the changes aren't jarring in the Italian tradition. The sound is what I often refer to as "European Warm Progressive", a type of music we hear in late 70s Spain and France in particular. It's definitely progressive rock, but at its most charming and wholesome. There is a Celtic component here, but not overwhelmingly so, the most obvious tracks being 'El Himmo del Sapo' and closer 'Ya Llueve'. There's even some classical references on 'Calle Betis (Atardeciendo)'. Overall, Valle del Pas is highly melodic but sophisticated, and even after some 32 years of familiarity, I never tire of hearing it. One of my 5 star masterpieces for certain.

Ownership: 

1978 Movieplay (LP). Gatefold. Acquired in 1988.

2006 Fonomusic (CD). Digipak.

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

Also own and need to review: Hablo de Una Tierra; Espana, Ano 75

12/20/19 (new entry)

Lloyd McNeill - Elegia. 1980 USA-Washington D.C.

This is the last of the 6 album run that Lloyd McNeill started with Asha in 1969. He did not change with the times. Despite being from 1980, it sounds every bit like a jazz record from the 1960s. Few, if any, could put the spirit in spiritual jazz like McNeill. In many cases the term is just a euphemism for free blow. Not with McNeill. All his pieces are highly composed and often times have a groove that just won't quit. One doesn't have to go any further than the opener 'Samba for the Animals' to underscore that latter point. McNeill also recreates his initial signature piece with 'Asha II', one of the most beautiful flute driven jazz pieces one can ever hear. Closer 'Memory Cycle' is another composition in this style of spiritual jazz. The one diversion here is 'Elegiac Suite for Elizabeth', an incredibly powerful track dedicated to the passing of his 80 year old mom Elizabeth B. McNeill. Here, McNeill and his mostly Brazilian backing band are joined by soprano singer Susan Osborn. It's not an easy listen, rather an intense portrayal. It's hard to imagine any album that was as out of time as Elegia was in 1980. This would be the end of the line for McNeill on the release front (for all intents and purposes), but he continued on with all of his artistic pursuits.

Ownership: CD: 2019 Soul Jazz. The CD is superb though the booklet is largely a retelling of Soul Jazz's prior reissues of McNeill's incredibly rich life with a brief summary at the beginning about Elegia. There are no bonus tracks.

12/19/19 (entry)

The Moving Sidewalks - The Complete Collection. 1967-1968 USA-Texas

The Moving Sidewalks were the Houston, Texas based psych band that gained fame later as the breeding ground for Billy Gibbons, he of ZZ Top fame. What becomes evident rather quickly is the influence of a one Jimi Hendrix, during the Experience years of course. There are photos of Hendrix and Gibbons together, and the former was known to have praised the latter's guitar work. It must have been quite the ego boost to be surrounded with such great company at an early age.

Flash would be their only album before ultimately disbanding and Gibbons forming ZZ Top. The music is a cross of high energy psychedelic with that of the blues, the latter being more the influence of Gibbon's next career. The album starts off incredible strong, but does wheeze out at the end with the somewhat traditional and lengthy 'Joe Blues', and the wacky and seemingly drug induced 'Eclipse' / 'Reclipse' segment.

Their singles were an indication of where the band was headed, and all are worthy as well. For example  'I Want to Hold Your Hand' is probably the last track from the Beatles' canon I would pick for a psych cover, but my goodness, did they absolutely destroy this track in effects - almost beyond recognition. Best version ever - at least that I've heard!

---

The Moving Sidewalks were the Houston based psych band that gained fame later as the breeding ground for a one Billy Gibbons, he of ZZ Top fame. 'I Want to Hold Your Hand' is probably the last track from the Beatles' canon I would pick for a psych cover, but my goodness, did they absolutely destroy this track in effects - almost beyond recognition. Best version ever - at least that I've heard!

'Joe's Blues' is a solid electric blues number, with excellent guitar and organ. And yes, the guitar here can be quite psychedelic sounding. It's the full 7+ minute version, so far beyond the usual single length. And yea sure, they do have the blues real bad. They got 'em. Yeaaa they do.

An incongruous single, but very good all the same.

CD: 2012 Rockbeat (The Complete Collection)

The CD (and 2LP) reissue is superb and collects everything The Moving Sidewalks - and precursor group The Coachmen - ever did. This includes alternate takes on both singles and album tunes. There are many great archival photos, and excellent discography information. What's strangely missing is an accompanying essay and/or historical notes. It's kind of baffling really. All the same, if the American late 1960s psych experience interests you, this collection is a can't miss acquisition.

Starcastle - Citadel. 1977 USA-Illinois

"OK Starcastle, enough is enough, time to produce a hit record!" So the good guys from Illinois roll back into the studio - ah but now we're going to invest heavily and ensure you stay on track: You're going to London to record with a big time producer! That'll do the trick. And what did Starcastle manage to come up with? A prog album! Oh for crying out loud, says the record company.

It's definitely more of a sincere attempt at AOR friendly music than prior. And in this case there's less Yes, and far more fellow regional Midwest superstars Styx into the mix this time. The obvious pandering for hits such as 'Can't Think Twice' and 'Could This Be Love' are pathetic and demonstrate what happens when you record something that just isn't you. But the rest isn't that far removed from Fountains of Light or the debut. Even in short compositional form, Starcastle puts in plenty of thought provoking ideas. Because that's who they are. While Citadel is the 3rd best of a three album run, it's still quite excellent and closes the book on one of America's best - and most derided - progressive rock bands.

After this, Starcastle finally gave in and produced for the record company a real pop rock album. All their fans left, sales plummeted, and Starcastle were no more. That's a lesson in life for all: NEVER give in to the masses. They don't care about you, so don't care about them. Do what you do, and if they appreciate, consider it a blessing and stay true to your integrity.

Ownership: 

2009 Rock Candy (CD). Booklet with full historical essay, interviews with the band, and great sound. Still no bonus tracks though. Acquired in 2019.

1977 Epic (LP). Picture disc. Definitely for show, that's for sure. I mean honestly, if Epic were really serious about Starcastle being a commercial rock act, they really should have gone with different artwork. It screams prog. And 42 years later, thank goodness they did what they did. But at the time, who knows what they were thinking. Acquired in 2021.

First copy: 1998 Renaissance (CD). Acquired in 2005.

4//05; 10/13/14; 5/15/16; 12/14/19 (review)

July. 1968 England

July's sole album is so quintessentially psychedelic England, they should have considered using the Union Jack as the album cover. Seamlessly mixing pop and psychedelic, with those distinct accented and treated vocals, there's just no other time and place it could have come from. Barrett-era Pink Floyd comes to mind almost immediately. Though the real guidepost here could be the more obscure Pussy Plays, though July falls short of the intensity and rigor of arguably England best 60s album. There are many other references of course, from brand names like The Beatles and The Moody Blues to a host of lesser known groups. The songwriting here is top notch, with memorable tunes long after the music stopped, as well as superb period instrumentation. July are best known as the precursor to none other than Jade Warrior, and one can hear the creativity rising even at this early stage. One wonders had the band veered in the same direction as Pink Floyd, what treasures could have been left behind. Though Jade Warrior is certainly a great door prize.

Ownership: CD: 2005 Air Mail (Japan). The Air Mail CD replicates the mighty fine single sleeve psychedelic cover. According to the insert, the album was remastered for this release alone. It also comes with the 'Hello Who's There' 45 single as a bonus. The A namesake side is rather trite and is everything that is not on the LP (fortunately). The B side is an extended and freakier version of 'The Way' thus placing this 45 on many a want list as well.

Starcastle - Fountains of Light. 1977 USA

For their debut album, I ranted on about the irritating notion that Starcastle are nothing more than Yes clones. There are so many other parameters at play, that no, it's simply not true. Influenced? Of course. Clone? No. So I won't revisit that topic again here.

For Starcastle's followup we see the band starting to make a conscious move toward more user friendly music. It was after all the expectation of the day - and the label wanted to maximize their profits by capitalizing on the surprise success of their debut. But in the end, Starcastle barely changed at all. Perhaps a trim here and there, but there's no denying this as anything but complex progressive rock - in bite size chunks. If we are to make the inevitable Yes comparison, then we must do so considering the short form progressive rock composition. Yes themselves just started doing that as well in 1977, and when we put up Fountains of Light and Citadel against Going for the One and Tormato, Starcastle comes away as the clear front runner. In fact, were it not for the crowd favorite epic 'Awaken' on Going for the One, then there would be no debate at all - but that was Yes doing what they did best - the long form.

It's a pity that Starcastle carry the Yes clone stigma. I fear that many do miss out on the joy of the music itself. If you find yourself as that person, give them another shot with a different filter. You may come away surprised.

LP: 1977 Epic
CD: 2010 Rock Candy (UK)
CD: 1998 Renaissance

Originals are very easy to find - so much so that the only real issue is can you find a perfect mint copy, maybe even sealed! Cool Ayn Rand inspired cover too. The Rock Candy reissue is really great, with a full historical essay and interviews with the band. It really does fill in the blanks of what I'd been saying for years about the band and their place in history. Great sound too. No bonus tracks though.

Grail. 1971 England

There were many bands like Grail in the 1970 English landscape. Mixing hard rock with other influences, in this case folk and raga, was all the rage. For whatever reason none of the labels in England were excited about the band, despite having marquee name Rod Stewart producing. Eventually the album found its way to Germany and France, but by the time of release in 1971, Grail were no more. There are some excellent riffs here offset by flute and most notably sitar. It's a slightly unusual blend on a typical recipe. Were it on Vertigo - precisely the place it should have been - the album today would be something of a... well you know....Grail.

LP: 2000 Second Battle (Germany)

Both German (Metronome) and French (Barclay) originals are very scarce. Each features a different cover, and the Barclay release tried their best at exploiting Rod Stewart's name. To date, the album has been poorly served in the reissue market. Only Second Battle reissued it, and without much supporting documentation. The LP is really an afterthought, seemingly appeasing a very small (back then) LP buying public. How times have changed in 20 short years. It's pretty much a brick and that's it, thus assuring postage will cost more from Europe. There's no info or anything else. Despite claiming license from Metronome they used the French cover? They could have done better. Grail seems like the type of band (and album) that could use the proper care from a Rise Above or Esoteric - or the German labels like Garden of Delights or Long Hair.

Sammal ~ Finland

Suuliekki (2018)

Suuliekki is the 3rd album from the contemporary group Sammal, and in principle they might as well be from 1972. I've written about Sammal in the past, and along with Malady, they represent Finland proudly in the retro prog sweepstakes. Sammal are in the reproduction business, so anyone looking for new, modern, and cutting edge music, will have to look elsewhere. The band have completely immersed themselves into the mindset and culture of 1970 to 1975 Finland, and given that backdrop, continue to create new music within those confines. It's like a movie that's based on an historical event, and then the writers craft their own story within that event. All the tracks are sung in the native Finnish tongue, adding a very important - and much welcomed - authentic ingredient to the stew. As with all bands from Finland during that era, there are no sweeping prog epics, but rather a concise set of tunes, nothing clearing the 8 minute mark - and most shorter than that. If you're the type who cannot get enough of that fat analog production sound, along with the vintage keyboard setup, then Sammal are a band you'll want to add to your purchase stack. All 3 albums to date have proven to be satisfying, perhaps Suuliekki being the best yet. Sammal are for fans of the classic Finnish progressive rock sound such as Tasavallan Presidentti, Tabula Rasa, Nimbus, Fantasia, and Haikara.

Ownership: 2018 Svart (CD). Papersleeve gatefold. Disc face emulates the classic Brain logo font (in blue though, verse green). Booklet with band photos and lyrics. Lyrics in both native Finnish and translated English so most of us can know what they're singing about. Acquired in 2019.

12/9/19 (review)

Sammal (2013)

I first heard Sammal via their second album Myrskyvaroitus. My review there can easily be transported here. It's the re-creation of Finland 1972, complete with lyrics sung in the native tongue, which is essential for the authentic experience. Perhaps a bit more blues based than the follow up, but very much in line with bands from the past like Kalevala, Elonkorjuu, and Tasavallan Presidentti. Retro prog heaven.

Ownership: 2013 Svart (CD). Acquired in 2016.

12/04/16 (review)

Myrskyvaroitus (2015)

Sammal are yet another modern "proto-prog" Scandinavian group to reach back to the glory years of 1970 to 1974 for inspiration. The instrumentation is entirely analog, as are the production techniques. We recently featured another such group from Finland - Malady - and the results here on Sammal's second album are very similar. The indigenous tongue is also quite important for the overall product to be successful. For us Americans, who almost have no chance of understanding Finnish (or even figuring it out), we'll miss out on the meaning, but the sound of the language is integral to the presentation, and quite enjoyable to the ears. The end result is something akin to a Finnish Uriah Heep, circa 1972. It's a familiar recipe with a unique preparation. So if bands like Kalevala, Nimbus, and Haikara put a smile on your face, so shall Sammal.

Ownership: 2015 Svart (CD). Papersleeve gatefold. Booklet with lyrics in Finnish and English. Acquired in 2016.

5/20/16 (review); 10/18/25

5/20/16 (new entry)

Group 1850 (& related) ~ Netherlands

Group 1850 Live (1969 / 1975)

By all accounts it looked like 1975 was to be a revival year for Group 1850. They reissued their most famous single in 'Mother No-Head', and they released their first studio album in six years with Polyandri. In addition to that, to set the context of who Group 1850 even was, they issued this archival album of 1969 live recordings, arguably at the height of their creative powers. As with any live Group 1850 setting, the focus is more on improvisational jams than simple recreations of past material, thus making the recording essential listening for fans. The highlight here for certain is the lengthy 'Between 18 and 50 Part VII' which captures the band at their freaky best. The final track 'Verandering (Change)' is yet another Peter Sjardin solo effort on his homemade Organiser. It is said this was a home recording tacked on to the end of this Live album. It's this recording that lends credence to the fact that Sjardin's solo album Changes may have been recorded as early as 1969. If it's true, Sjardin was considerably ahead of the pack - as usual. He took the spacey aspects of Pink Floyd's 'Saucerful of Secrets' to its logical extreme - long before anyone else. Overall though, the sound quality itself isn't great - but good enough for an archival album. In a later era, these would have made excellent bonus tracks to any CD reissue. As a standalone LP, it is debatable if it's worth owning by itself.

Ownership: 2019 Pseudonym (CD). Part of the Purple Sky box set. As a bonus, there are also a couple of classic Paradise Now era tracks recorded from a 1973 concert, one of the dormant years of Group 1850. Both are well recorded and makes one pine for a full concert from this era of the band. Acquired in 2019.

8/31/19 (review); 12/8/19 (update)
 

Live On Tour (1976)

Live on Tour represents the last known recordings of the Dutch pioneering progressive rock ensemble Group 1850. The album is presented as a five course meal, though the opening serving does not indicate what is in store for the rest of the dining experience. 'Aperitive' is a solo piece by Peter Sjardin on his Organiser - sounding pretty similar to Sjardin's Changes album that we just spoke about. From there we find Group 1850 in a loose jammy mood. Mostly psychedelic influenced jazzy prog with a bit of a funky feel. This album proved once and for all that Group 1850 had no intention of ever selling out or trying to be relevant. Almost no one was doing music like this at such a late date, especially one with name recognition. They were pioneers at the beginning and they seemed to be on the distant and lonesome trail at the end. Clearly this is not the place to start your Group 1850 exploration. By itself, Live on Tour is a relatively harmless instrumental rock album. In context of the band's history, however, it becomes yet one more essential listen.

2019 Pseudonym (CD). Part of the Purple Sky box set. Both of Group 1850's live albums were the only albums left from their discography to not have been reissued legally until this set came along. In addition to the full album, they also appended three previously unreleased jams from the 1975 tour: 'Friday I'm Free', 'Purple Sky', and '?!'. These three tracks are arguably the greatest songs in their entire canon, so a nice selection for bonus. Acquired in 2019.

10/28/19 (review); 12/6/19 (update)

 

Peter Sjardin - Changes (1969 / 1982)

Group 1850's founder Peter Sjardin released this one album - or tried to anyway - back in 1982, and it couldn't be any more out of time and place if it tried. More on that below. Musically it could be considered an extension of the '?!' track from Paradise Now. Imagine the keyboard work (Sjardin's homemade Organiser) but without a rock band supporting it. Nor much in the way of melody. It's a very experimental work, for fans of hardcore electronic music. Like Klaus Schulze's Irrlicht if looking for comparison. Not an easy listen, but once again demonstrates the forward looking disposition Sjardin always maintained.

As for the date of the recording, it's anyone's guess really. The liner notes from Group 1850's Purple Sky box set states "were said to be made at Sjardin's home in The Hague 1969", which means they don't know for sure, but that's the prevailing theory. For years it was presumed to be from 1978 - and while it doesn't sound modern in the 1978 sense, given that it was Sjardin's own keyboard creation, it's not a stretch to believe either. There's plenty of albums from the late 70s that used primitive electronics. Sjardin himself was mentally far gone in his last 30 years, and now he's no longer alive, so the secret may have gone to the grave with him.

Apparently this album was set for release in 1982 by the Universe label, despite its very non-commercial nature by that late date. It's been said that only 25 test pressings were made. Given the sheer lack of available product (never once been auctioned on ebay, two total ownership on Discogs), it's a believable number.

Ownership: 2019 Pseudonym (CD) Part of the Purple Sky box set. Acquired in 2019. 

12/3/19 (review)

Various 45s, Singles = Mother No-Head (1966-1975 / 2012)

Overview

I'm redoing this post with better formatting - and since more data has emerged considering the new Purple Sky box set.

First let's talk about the availability of these singles and how to obtain them, and then we'll follow these singles chronologically.

The first to market was Pseudonym's fantastic CD reissue of Agemo's Trip to Mother Earth (1997) - which contained no less than 13 bonus tracks. You even get the 3-D cover and glasses!

Second was the individual CD/LP release of the singles (plus demo varieties) known as Mother No-Head (2012).

Third, and the most inconspicuous, is a double CD release called The Golden Years Of Dutch Pop Music (A&B Sides And More) (2017). Not only does this CD contain all their released singles, but it also has reissues of Paradise Now (which already had multiple releases) as well as the very first legit CD reissue of Polyandri.

And now fourth - and the most complete Group 1850 package by far - is the 8 CD Purple Sky box set (2019). Included with all vive of their albums (plus one Sjardin solo work), we also get two full discs of Group 1850 singles. It's a bit misleading though, as many are just mono/stereo variations of each. There are some deviations though, that we will cover below.

1966

Group (native Groep) 1850 were always ahead of their time by at least two years. Peter Sjardin is no doubt one of the creative geniuses of our era, a man with no commercial ambition whatsoever, but one who never lost his mojo until the end of the 70s. The fact 'Misty Night' came out in 1966 demonstrates the point at hand. This track could have easily fit on the Agemo's opus that was to arrive two years later, and it too is a pioneering effort. This is prog psych, before the former term existed and the latter term was just entering the lexicon in regards to music. 'Look Around' is a bit more typical for the era, in a punk garage sort of way. It's still very good for the style.

1967

I'm not quite sure why the psychedelic era had so much infatuation with the French nursery rhyme Frere Jacques*, but 'Mother No-Head' is Group 1850's interpretation. Apparently the name is a bastardization of the Dutch "Vader Jacob" with some free association to English. OOKAAY then. Uncut drugs I presume. In any case, from what I understand this was Group 1850's most successful single. It definitely is a unique variation of the jingle and is quite good. 'Ever, Ever Green' is the most normal song Group 1850 ever did, and the only one I'd probably skip over in their entire oeuvre.

* The German psych band Bokaj Retsiem dedicated their name (Meister Jakob spelled backwards) and their one album to the rhyme.

Another brilliant pair of tracks from these Dutch cosmic travelers, well on their way to blowing minds everywhere.

1968

The pinnacle of Group 1850's singles. 'Little Fly' is the same version as on Agemo's Trip to Mother Earth, and is brilliant. And 'We Love Life' is the perfect encapsulation of Group 1850's ability to consolidate many psychedelic ideas into four and a half minutes.

The second best of Group 1850's singles (after Little Fly / We Love Life), this captures the band at their peak (and probably peak experience if you know what I mean).

1969

While the band were quite active in 1969 - especially considering their best work Paradise Now was released then - there was no formal singles activity. However on the Purple Sky box, two lost recordings emerge, both single edits of tracks found on Paradise Now: 'Friday I'm Free' and 'Purple Sky (part 1)'.

1970

Group 1850 returned in 1970 with 'Don't Let It Be' and 'Sun is Coming', though ironically this would be the only recording to emerge from the band during the year. This would also be the only single left off the Agemo's Trip to Mother Earth CD reissue. And they are not to be missed either. Just two more great tracks (especially 'Don't Let it Be') from Group 1850!

1971

Based on the sheer level of activity, it appears that 1971 was to be a breakout year for Group 1850. But alas it never happened and they more or less broke up for three years afterward.

I think there can be no doubt Arthur Brown was on their mind when they did 'Fire'. It's not just the song title, but also the style. A surprising copycat move from a band who were always innovators. It's still a great track despite this. The highlight here though is 'Have You Ever Heard', which basically consolidated the '?!' track from Paradise Now into a song with lyrics. Of course it doesn't have the long trippy organ and guitar parts, but it's great to hear how they recycled some of the themes.

What would appear to be the only original tracks on Purple Sky, are really variations on the above. 'Falling Mountains' is yet another variation of '?!', though to be honest I'm open to hearing any number of variations of this most brilliant song. The other track here is 'Liar' which rhymes with - c'mon guess - right, 'Fire'. It's basically the same tune with different lyrics.

In addition to the above activity in 1971, Group 1850 also recorded '1000 Years Before' and 'Dream of the Future', neither of which were ever released in their day. These two songs - both excellent - first appeared as bonus tracks on the Agemo's reissue. They were also both left off the Golden Years CD.

1975

The only single from Group 1850 than can be ignored, if you already have these two tracks from earlier releases (1967 / 1971 respectively). This appears to be a cash-in job recycling their most known hit 'Mother No-Head', but this time sung in half-French, which is where this single was released (and as we learn from the Purple Sky box, it was recorded way back in 1967). 'Fire' is the exact same as the 1971 single. By 1975, Group 1850 were barely a cohesive entity anyway, though they recovered to release the excellent Polyandri and Live On Tour albums. After this, Sjardin basically imploded with inane attempts to stay relevant in the marketplace throughout the late 70s and early 80s. He ultimately became a recluse for some 30 odd years, and passed away in 2015 at the age of 68.

Ownership: 2019 Pseudonym (CD) as part of an 8 CD box set called Purple Sky. Acquired in 2019.

9/1/19 (review)

Polyandri (1975)

One would expect that after from years on from Paradise Now, a band would have changed directions radically. Especially in an era when musical trends changed with the seasons. Perhaps a fusion album? Hard rock maybe? Pop? But not Group 1850. Still going after it with their unique brand of psychedelic progressive music. In fact, Polyandri is more refined and varied while still being a primarily instrumental album . This album features an array of sounds from complex progressive rock compositions to simple bluesy workouts and onto trippy psych organ based excursions similar to their first two LP's. Wonderfully out of touch for 1974!

To talk about the date: There's no date anywhere on the LP except a mention in the insert of a recording time of January, 1974. By deduction, one could conclude this was released in 1974. However, the Purple Sky Box states: (legal troubles with the studio) "...Eventually some kind of settlement was reached and the album was released in November 1975 on Rubber Records, a label formed by Sjardin with a couple of business partners." This would explain the large gap in time. And settles the matter unless other data emerges to the contrary.

Ownership: 1975 Rubber (LP). Fold open cover. Acquired in 2011.

2019 Pseudonym (CD) as part of an 8 CD box set called Purple Sky. Acquired in 2019.

First copy: Twilight Tone (CD). bootleg. Acquired in 1995.

1995; 1/22/01; 12/29/11; 12/26/17 (review); 8/11/19 (update)

 

Agemo’s Trip to Mother Earth (1968)

---1/22/01

By all rights, the Dutch music ensemble Group 1850 should hold the same mythic stature that Pink Floyd obtained. First of all, Group 1850 represent Continental Europe's first progressive rock band. Their compositions are designed for the tripped-out effect: Organ overlays, relentless throbbing bass, active percussion, spacey / phased voices and, best of all, an acidic guitar tone that uses every bit of studio trickery and tone affectation available at the time.

Clearly a parallel group to Pink Floyd, Agemo's Trip to Mother Earth is taken from the same cloth as Saucerful of Secrets. In retrospect though, Group 1850's work is more creative - which one may expect from a Continental band without any commercial restraints. Sure, there are some pure psychedelic moments to be had - but just hearing the title track (technically titled 'I Put My Hands on Your Shoulder') should put anyone in awe who can hear this from an historical perspective. There just flat out wasn't anything like this in 1968 . The fuzz guitar, the trippy voices, the acid induced phased effects, and the drumming (oh my - the drumming). It's a true masterpiece in the field of psychedelic progressive music.

Ownership:

1999 Pseudonym (LP). Gatefold cover with 3D image and glasses. Acquired in 1999.

2019 Pseudonym (CD) Part of an 8xCD box set called Purple Sky. Acquired in 2019.

First copy: 199? SPM (CD). Acquired in 1992.

1992; 1/22/01 (review); 6/10/12; 2009; 12/22/17

Paradise Now (1969)

Wow. The first three tracks are psychedelic songwriting at its best. Trippy droned-out voices, acid wah-wah guitar, psychedelic organ, pounding bass, active rhythms and memorable melodies round out the opening of Paradise Now - Group 1850's second album, and a work of pure genius. 'Friday I'm Free' is my pick for the ultimate late 1960's psychedelic song . This is followed by three short incidental psychedelic interludes, whose placement is perfect and sets up the album's masterpiece - the appropriately named '?!'. Perhaps in today's lingo they would name the track 'WTF?!'. This instrumental journey into the netherworld of your mind is highlighted by some of the most incredible organ sounds you've ever encountered. 11 minute closer 'Purple Sky' shows Group 1850 paying homage to the blues psych of Jimi Hendrix, but tripped out Amsterdam coffee shop style.

A stunning work of psychedelic music, that makes you pine for more of it. If only there was more of it.

At least one well known collector on RYM says it's his favorite album ever. That's outstanding. I'll say top 25 for me. An amazing piece of music.

Ownership: 

1969 Discofoon (LP). Single sleeve with flapback cover. Can you believe this album was released by a department store (Vroom & Dreesman)? It blows my mind to even dream of albums like this coming out from, oh I dunno... say... Montgomery Ward. It's impossible to fathom! Incidentally the store is still going strong today, but it's been many years since they were in the music business. Acquired in 2012.

2019 Pseudonym (CD) Part of an 8xCD box set called Purple Sky. Acquired in 2019.

First copy: 1991 Free (CD). Acquired in 1993.

1993; 1/17/01; 2009; 8/21/12 (review); 12/21/17; 7/18/19

8/21/12 (new entry)

Os Mundi ~ Germany

43 Minuten (1972)

43 Minuten is the follow up album to Os Mundi's debut Latin Mass. There's really nothing to tie these albums together beyond personnel. While the debut took the Electric Prunes styled rockin' church mass to its logical extreme, 43 Minuten was more in line with the Krautrock movement going on in 1972. In fact, one could easily see this album as the successor to Nosferatu's debut, with its hard driving guitar, and flute / sax driven melodies. It possesses a similar high energy as well. Other guideposts would be the same era UK groups such as Raw Material, Aquila, and Diabolus. And the patented studio phasing of Conny Plank recalls Thirsty Moon's debut. In short, it's the perfect Krautrock stew. And while it's not one of the more memorable albums of the scene, on repeated listens it clearly goes into the indispensable category, especially for hardcore Krautrock fans of the 1972 variety.

Ownership: 

1972 Brain (LP). Gatefold. Green label Metronome. Acquired in 2020.

1998 Repertoire (CD). Booklet with history in English and German. Acquired in 1998.

1998; 12/5/19 (review)

Also own: Latin Mass

12/5/19

Firyuza. 1979 Turkmenistan

Way back in the mid 1990s I used to joke that if the album was from Turkmenistan, it had to be good! Of course I was talking about the Gunesh Ensemble. At the time, most of the planet was not aware that another progressive oriented group existed from the same place and era. Turkmenistan, to this day, is pretty much isolated from music such as this.

Now that we have proper reissues, the band's history comes to the fore. And sure enough, band leader Dmitry Sablin was once a member of Gunesh going back as far as the late 1960s! And the backstory of the foundations of Gunesh and Firyuza is fascinating. We forget now that Iran was once a staunch ally of the United States. So it was for most of the 1970s that the American military had bases throughout the country. And... Iran borders Turkmenistan. It was via the American Military radio coming from Iran that many in Turkmenistan heard the sounds of jazz and rock for the first time. They would record these shows and pass reels to each other - a great secret. Subversive youth exists everywhere! Governments never want to admit this fact of human nature. Firyuza, by the way, is a small picturesque village in Turkmenistan.

The album itself is unique, but not overtly so. There are moments that recall the high energy of Gunesh. But there's also long flights of spaced out fusion. The compositions are unique in the way they develop - seemingly without purpose - but this is where the allure lies. It's all a bit foreign to Western ears, but wonderfully so. And with a full 7 piece band, the palette is multi-dimensional. A must listen.

Ownership: LP: 2019 Soviet Grail. Single sleeve. Comes with a multi page insert with a full history.

CD: 2019 Soviet Grail. Jewel case. Same as above.

Firyuza is the rarest progressive rock album from the former USSR. I had wondered why for years, since Gunesh's second album (not first - it too is rare) was available in the West (perhaps not legally, but relatively easy to get). Now we know why. Unlike Gunesh's second album, which was pressed throughout the empire, Firyuza was strictly pressed and released to the local market. How many copies is anyone's guess, but certainly not too many. And who knows how many still exist. Record collecting in the 1970s was not likely a thing in Turkmenistan.

When Boheme Music (Russia) reissued the USSR progressive rock classics in the late 90s and early 00's, Firyuza seemed to be a glaring miss. But it's very possible that the master tapes did not (or do not) reside at the main Melodiya offices in Moscow or Saint Petersburg.

Enter 2019, and the superbly named Soviet Grail. Apparently the label spent a number of years cobbling this reissue together. And it required "real detective work". I can imagine. Both the CD and LP reissues feature an excellent essay/history of the band, with a couple of rare photos. There are no bonus tracks. Which makes sense when you realize how difficult it was for the band to even record this - basically on their own dime. A dime they did not have. Were it not for charitable volunteers, it's likely the recording would never have happened.

9//08; 8/11/10 (CDRWL); 12/1/19 (new entry)

Dave Gryder - Panacea. 2018 USA-Texas

As I've mentioned in prior reviews, Dave Gryder is an unreconstructed 1970s aficionado. All of his projects have their roots in that most crazy decade, whether it be Covenant (prog), Storm at Sunrise (proggy hard rock), Blood of the Sun (hard rock), Dave Gryder Band (jazz funk), and now just his name (jazz fusion). Panacea would also have to be considered his most obscure work to date, originally released on CD-R, and now factory pressed to CD in 2019. It appears Panacea is Gryder's homage to the 70s fusion label rosters of Inner City and CTI. It's mostly a solo effort, but given that Gryder is both a drummer and keyboardist, and that he has an arsenal of vintage keys at his disposal, it comes across more as a full band effort. In addition, there are guitar "solo" guests for 4 of the 7 tracks presented.

As with all of Gryder's projects, he has a knack for distilling the best a genre has to offer, and leaves out the chaff. And Panacea is no exception. It's mostly a high energy spirited affair, with great melodies, and complex rhythms. It's not unusual for Gryder to pepper all his recordings with copious amounts of progressive rock, and Panacea is, once again, no exception. It is the keyboards, as mentioned above, that separates Panacea from the garden variety 1976 Inner City recording. There's the usual suspects: Hammond, Rhodes, Clavinet, and Mini Moog. And then there's the differentiators: Mellotron (not a common instrument in fusion, and it's all over this recording) and something he calls Keyboard Violin. In history, there is the concept of a Viola Organista and in modern times a close proximity to Leonardo Da Vinci's design is called a Wheelharp. Or it could be a synth patch. Whatever the mechanism is, one has to agree it does a very nice job of emulating the sounds of a violin. It is one of the key melody instruments used on Panacea.

If any of this reads well to you, then the album is likely to please on many levels. If it really were released in the mid 70s, the album today would be considered a classic. Definitely recommended!

CD: 2019 private. Comes in a jewel case with a single slip card detailing the instrumentation and personnel. There's an LP release as well.

12/1/19 (first listen/review/new entry)