Blåkulla. 1975 Sweden

Blåkulla's sole album has some similarities to Trettioåriga Kriget's work during this era. Though not as dynamic or interesting. The album is very Swedish in nature, including lyrics in the native language, plus the period instrument and production choices. The CD adds 3 bonus tracks from 1974, and it's here that we are able to determine Blåkulla's progressive rock brilliance. Much more progressive and instrumentally interesting than the album itself. Though it must be said the album is excellent in its own right, it's just that the bonus' are exceptional.

Ownership: CD: 1997 Ad Perpetuam Memoriam. Purchased new online upon release. Nice reissue with great sound, bonus tracks, and unique photographs. Includes the original lyrics. This is one of those reissues where the bonus tracks determine it to be a mandatory presence in the collection.

Blakulla

Fusioon. 1972 Spain

Fusioon's debut - the least heralded of their three albums - is a fine release of eight progressive rock instrumentals. Perhaps a bit raw and unpolished, but for 1972 Spain, it's quite accomplished. There's also hints of their transition into a more Canterbury styled group. I find the album excellent on the whole.

Ownership: CD: 1997 Divucsa. Purchased new online upon release. Straight reissue with original album details and that's it. Gets the job done though.

Bernd Kistenmacher ~ Germany

Wake Up in the Sun (1987)

Given that Klaus Schulze has released something like 500 albums worth of material, one wouldn't think there's much of a demand for copycats. And Kistenmacher is just that, but I have a soft spot for his early works. I first discovered the electronic artist real time in the 80s while I was still "early in the game", and even though I was quite familiar with Schulze by then, it was nice to have new music in this genre. But this was before Schulze unleashed his massive archives. In any case, if you can't get enough of Timewind styled Berlin School music, one could do worse than Wake Up in the Sun. Kistenmacher proves he's quite adept. I'm keeping it.

Ownership: 1997 Green Tree (CD). The "bonus" track was taken from Head Visions, an album they reissued at the same time! What bonus? Makes one question why they even bothered to reissue this in the first place (there were already three CD pressings in print at the time).

1998 (acquired); 5/13/15; 4/9/20 (review)

Kaleidoscope (1989)

Old skool Berlin School music heavily influenced by Klaus Schulze circa Blackdance, with a good dose of Ashra's New Age of Earth added into the mix. Plenty of analog synthesizers, and some modern ones including electronic percussion, with a bit of acoustic guitar to offset the machines. 

---10/13/25

Wasn't sure where I pulled that Ashra reference from while hearing the very Schulzian 23 minute opener. Oh there it is - track 2. 30 minutes of pure beauty, clearly a tribute to Gottsching's most optimistic release. I just noticed the sun peeking through the curtains.

Ownership: 1989 Musique Intemporelle (CD)

1990 (acquired); 5/29/16 (review); 10/13/25

Head-Visions (1986)

No discussion about Bernd Kistenmacher can be had without at least a passing mention of one Klaus Schulze. Especially at the time of Timewind or X, arguably the Master's finest moment in the sun. Head-Visions contains three long tracks of Berlin School goodness complete with full-on sequencers, and various other analog / digital tones drizzled on top to add much needed color. While Schulze himself was busy messing about with digital technology and an unhealthy love of beats, Kistenmacher was trying his duly best to bring back the glory days of the original movement. And he succeeded mightily, as others followed suit shortly thereafter. Be sure to get a hold of one of the CD reissues which contains the 11+ minute 'Dreamdance', as fine a track as any on the album proper.

Ownership: 1997 Green Tree (CD). One bonus track.

1988 (LP acquired); 6/24/15 (review)

Outlines (1991)

Bernd Kistenmacher was one of the leading lights of the new wave of Berlin School electronic solo artists coming from Germany in the middle 1980s. Comparisons to Klaus Schulze are unavoidable, though Kistenmacher wisely borrowed from Schulze's late 70s output rather than the programmed sound he preferred at that time. By 1991, Kistenmacher himself was somewhat marginalized as his influence - and others - ushered in a boatload of new artists in the genre. This was a good time for Kistenmacher to take a break, as his sound was beginning to sound all too familiar, just as his idol had done before him. This is a nice, and varied, elektronik album performed by a seasoned veteran. Perhaps too much of the same thing for my collection, however.

Former ownership: 1998 Green Tree (CD)

11/22/14 (acquired / review)

11/22/14 (new entry)

Hellwell - Behind the Demon's Eyes. 2017 USA-Kansas

Hellwell were one of 3 active concerns Mark Shelton was running with before he died. Manilla Road of course was his flagship. He also had Riddlemaster, which featured original Manilla Road drummer Rick Fisher. And then Hellwell, which had Fisher's MR replacement Randy Foxe on drums, and was Shelton's progressive rock outlet. At least in theory. Hellwell pretty much sounds like Manilla Road with a predominance of synthesizers in play (credited to EC Hellwell - a Shelton pseudonym). Behind the Demon's Eyes is their second effort, and is off the pace of the debut. It's a bit of a sloppy run through, and there's a lack of inspired ideas. Not to say I don't like it - I really do - but had hoped for more given the promise of the debut. Of course music like this often takes time to penetrate, so perhaps it will age well. With Shelton no longer with us, it's likely Hellwell has ended its run as well.

Ownership: CD: 2017 High Roller. Standard new jewel case issue with lyrics. 

4/28/20 (new entry)

Vytas Brenner - La Ofrenda de Vytas Brenner. 1973 Venezuela

I find Vytas Brenner's debut a pleasant progressive rock album, with a few interesting instrumental passages. It's not very memorable to be honest, but it's an immediately likable sound. Perhaps a bit too much percussion for such a short album. My Venezuelan collection can be counted on 2 fingers, so for now, this is as fine a representation as I have to offer.

Ownership: LP: 1973 Yare. Picked up the gatefold LP online only 4 months after originally posting this. And with this comment "I should look into getting the original LP here (or an early pressing)". This replaced the basic 1999 CD that made up the original entry.

4/28/20 (new entry)

Uriah Heep - Demons & Wizards. 1972 England

Even though Uriah Heep are relatively obscure here in the States (in the grand scheme of things), it's interesting to note how strong of an influence they were on the musicians here back in the day. When one looks at the American grass roots hard rock movement in the mid to late 70s, many of the private presses have early Uriah Heep stamped all over it. Especially Demons & Wizards. It's an album that captured the male mindset of the day.  While not as adventurous as Salisbury, one could argue that Demons & Wizards is the personification of the Uriah Heep sound. At least in my mind it is. 

Ownership: LP: 1972 Mercury (USA). The LP is a recent pickup at a local b&m for dirt cheap. Wonderful Roger Dean multi section uni-pak gatefold with lyrics inside the cover. This replaces the commodity CD that made up this entry.

9/11/20

Volare - Memoirs. 1996 USA-Georgia (archival)

For some reason I had this as a -1 to The Uncertainty Principle, but in retrospect it's very similar. A bit more raw,  but that only adds to the allure. Funny to see a band have an album called Memoirs with only one album to their credit. These recordings come from a cassette release recorded in 1996 + a couple of live spots. I'm not finding existence of this cassette, though not sure if it was ever released for public consumption until this CD. OK, one of our readers owns it - and has provided photos!

Ownership: CD: 1999 Pleasant Green. Nice archival release with detailed liner notes. Purchased new online upon release.

Volare - The Uncertainty Principle. 1997 USA-Georgia

Fantastic Canterbury styled album from Athens, Georgia. I keep thinking this will go +1, but it never quite does. Still a great album for fans of the genre.

Ownership: CD: 1997 The Laser's Edge. Standard new album layout. Purchased new online upon release. 

Night Sun - Mournin'. 1972 Germany

---7/12/15

The album that answers the all important question: What would have Deep Purple sounded like if they were on the Brain label? About as good as it gets for the early 70s hard rock style!

---4/24/20

To be honest, not much else to be said really. Conny Plank does his thing in the studio, and definitely adds the Krautrock touch. But otherwise this is a blistering set of tunes, much heavier and kinetic than almost any band from this era. And that's some serious competition it's blowing away. Essential for the hard rock genre.

Ownership: LP: 1976 Polydor. Single sleeve. Recent acquisition from JL (2023). I originally bought this LP (same version) at Bananas in St. Petersburg, Florida while there on business in 1996. I sold it off after getting the CD, but this album is too good not to have an original of (close enough).

CD: 1997 Second Battle. Digipak with no info and a 1997 Second Battle catalog. Keeping this as the music is first division.

10/16/96; 7/12/15; 4/24/20 (new entry); 3/29/23 (LP acquire)

Pazop - Psychillis of a Lunatic Genius. 1972-73 Belgium (archival)

Two different archival recording sessions, though both are similar musically. The namesake album is from 1972 and is about 26 minutes in length - more like an EP. The 1973 recordings, later reissued as simply Pazop, is about 35 minutes. The music rounds up the usual Continental European suspects in the Zappa/Canterbury genre like Cos and Moving Gelatine Plates, and on the 1973 album, I was reminded of a band not normally associated with this kind of music: Kornelyans - Not an Ordinary Life.

Ownership: CD: 1996 Musea (France). Jewel case. Usual great 90s Musea archival issue with complete historical liner notes. 

I bought the CD online when it first came out. 20 years later, the convenient and essential CD has fallen out of print, and you can now buy the album as two separate LPs - each a brick - without any extras and likely sourced from the CD anyway. Why not release as a double LP? What, and miss out on getting $40 retail + exorbitant shipping costs (360 grams!) for each? How the mighty have fallen. Not for me.

4/22/20 (review / new entry)

Somnambulist. 1996 USA-Tennessee

One of the many great progressive rock bands that appeared in the 90s and are now a distant memory but of a few. This was one of the gems in The Laser's Edge catalog of albums. While it's not exactly a retro prog album, many elements of that sound exist here. This is for hardcore prog junkies, that's for sure. A little Genesis, Yes, King Crimson, and VDGG. American style. If this is the first time you've heard of this band, grab a sample, and then buy a copy while you still can.

Ownership: CD: 1996 The Laser's Edge. Purchased new upon release. Comes in a standard digi-pak with recording details.

Ides of March ~ USA ~ Chicago, Illinois

Vehicle (1970)

Long before Jim Peterik made his name as the author of Survivor's 'Eye of the Tiger', he had another major hit with 'Vehicle'. Personally I think it's one of the greatest of energetic horn rock tracks. Not sure if this is still the case, but not too long ago one would still here this song at Chicago Bears games (appropriate since that's where the band were from). After this, most of the original material is serviceable for the horn rock genre, though not extraordinary. And the Creedence Clearwater Revival homage 'Factory Band' is best skipped over. But the other two monster tracks here are the extended cover tunes, with highly original arrangements: 'Wooden Ships' and 'Symphony for Eleanor'. I've always liked The Beatles' 'Eleanor Rigby', but without any doubt, this is by far my favorite version of the track. And it rocks too!

Ownership: 2003 Rhino Handmade (CD). On Friendly Strangers with Common Bond. There are no less than 7 A/B singles included here, though some are just double-ups from the LP. Package is filled out with full liner notes, photos, and great sound. Encompasses one full CD plus a mini CD (fortunately full size so you can play it in all CD players). The CD originally could only be purchased from Warner Bros direct marketing, which I dutifully accomplished not long after its release. It's been since repressed by Wounded Bird. Not sure if they have the full liner notes though. Acquired in 2004.

First copy: 1970 Warner Bros. (LP). Acquired in 1995.

1995; 10//04; 2/28/15; 4/22/20 (review)

Common Bond (1971)

The Ides of March's second album could be described as a mix of Crosby, Stills, and Nash combined with Blood, Sweat, and Tears. Definitely a prototypical North American pop rock sound of its era. There are two great tracks here though, that make it well worthwhile. First is 'Superman', which was the mandatory follow up to their massive hit 'Vehicle'. It may be a rewrite, but it rocks out in the same fashion, and the horn charts are killer here. Second is the lengthy progressive jam of 'Tie-Dye Princess'. It's too bad we have such few examples of The Ides of March performing long form music, because in each case, they are a very entertaining unit with expert musicianship. Personally I find the lyrics charmingly antiquated. 'Ogre' is also a good track, with its raunchy soulful hard rock sound. As for the rest, it's mostly folk based pop rock. Contrary to the "Rolling Stone standard" type review, I find the horns are about the only saving grace to what are otherwise ordinary compositions.

Ownership: 2003 Rhino Homemade (CD). On Friendly Strangers with Vehicle.

10//04; 2/28/15; 9/3/16; 4/24/20 

1/22/17 (new entry)

Oz Knozz - Ruff Mix. 1975 USA-Texas

One of the more interesting US private press rock albums from the 1970s. Coming from Houston, but having that amateurish production, vocal style (Id's Where Are We Going leaps to mind), and overall mindset of any US 1970s group from any place. Like most bands of the era, the idea was to throw out a few different styles to see if something would stick. The theory then goes that a major label talent scout would hear their private album by pure happenstance, and want to sign them up for a 5 album contract so they could open for Led Zeppelin or Foghat's next US tour. Sure. What separates Oz Knozz from the others, is a strong composition acumen, with plenty of original ideas and superb instrumentation, especially the guitar work. My favorite track, though, has to be the anomalous groovy and infectious horn rocker 'Love Poem', which could have been recorded in 1968. The 3 part 'Doodley Squat' is not only blessed with a great name, but provides plenty of instrumental highlights. A strong album that improves with time.

Ownership: LP: 2019 ShroomAngel. Decided to go forward with the LP reissue here. The LP comes with humorous liner notes about the recording and mixing process. Though it's not stated, these stories most assuredly lead to the album title.

8/1/10 (CDRWL); 4/21/20 (new entry) 

Imagine - Images, Clear Skies and Rainbows. 1980 USA-Florida

The first two tracks are well done - though not head turning - hard rockers. 'Rock & Roll Man' is the requisite boogie song, and is the low mark of the album. At this point, not much to recommend. Starting with 'Superstar', the album gets exponentially better. This track has a classic Santana vibe. Side 2 clearly moves towards progressive rock, with plenty of changes, synthesizers, flute, and creative ideas. It's these last 5 songs that makes this LP a keeper.

Ownership: LP: 1980 Light Horse. Recent online acquisition (2020). My copy came with a promo sticker as well, not sure if that was standard or not (Discogs doesn't mention it). The original also uses the well worn "generic rainbow" cover, which is just charming by this point.

4/20/20 (new entry)

Zauber (Il Sogno). 1978 Italy

My old friend Mr. Music used to always say this album had "a most incredible vibe". We both bought this on CD when it came out in 1989, and I have to say his enthusiasm encouraged me to keep it. Multiple tries at it in the ensuing years did little to move the needle forward. It's been probably 25 years since I last heard it, and now it's judgement day. You know what? It has this great vibe! :-) These charming Italian albums from the late 70s - long past the heyday - just makes you want to settle into an Umbrian hill town with a glass of wine and watch the world go by. It's definitely a fine progressive rock album, with folk trimmings, and questionable tone choices. Like the aforementioned wine and hill town, albums like this age well.

Ownership: CD: 1989 Vinyl Magic. Who knows what Vinyl Magic were doing in the early days. They rearranged the tracks and added others (bonus) indiscriminately without notes to support. They took the wonderful photo from the back of the LP and botched that all up. The CD is obviously taken from vinyl too. And they appended a new title Il Sogno. According to Discogs, this is what the band wanted. OK, fine. Apparently the second reissue from Vinyl Magic is even more messed with (I'm sure also band driven, given they were still performing back then). So no good reissues I'm afraid. I would love the original LP at this point given the state of the reissues, but hoo-baby, that price!

1990; 4/19/20 (new entry)

Osiris ~ Netherlands

Futurity and Human Depressions (1991)

---7/2/06 

Osiris were one of those metal bands from the late 1980’s and early 90’s to attempt what is known as Technical Metal, a highly complex form of heavy metal that was more or less invented by Watchtower in the mid 1980’s. I only picked up the CD originally as it was mentioned in the same breath with early Sieges Even circa Life Cycle and the aforementioned Watchtower in an old Metal Forces magazine review. All the trademarks of the style are here: Loud thrashy guitars, turn-on-a-dime rhythms, high pitched vocals, and nary a melody to be found. And it is this last trait that most affects the outcome of Osiris’s album. One web reviewer stated that it sounds like Osiris are playing complex music just to be complex. And I would say that’s about right. It’s also fairly one-dimensional. The guitar playing isn’t particularly crisp either, a somewhat sloppy run through. All the same, one has to admire the sheer audacity to try to muddle through these hyper-complex compositions – most between six and nine minutes. This is the kind of album that I can appreciate more on some days than others – and I suspect anyone into very complicated music will feel the same. 

---4/19/20 

 
The above review was for Gnosis about a generation ago, but my thoughts are more or less the same. Once again we're dealing with a very dense style of thrash (from teenagers no less), not that dissimilar to Deathrow's Deception Ignored that I just reviewed and also listened to recently. As time goes on, I seem to enjoy this kind of metal more than even prior. This resulted in a +1 listen.

Ownership: 1991 Shark (CD). Booklet with full lyrics and the requisite thank you section.

1996 (CD acquired); 7/15/06 (review); 4/19/20 (update / new entry)

Ozric Tentacles ~ England

Become The Other (1995)

Seems every time I talk about Ozric Tentacles it feels like I've already had that discussion. :-) Become the Other was the first Ozric album I didn't buy real time since Erpland. I had tired of their sound by the mid 90s and the reviews indicated that Become The Other wasn't any more different. But a couple of years later I picked up the CD and enjoyed it immensely, perhaps the break in action being the key. In retrospect, Become The Other is one of their stronger releases, and features a few of their classics, especially the opener 'Cat DNA' along with 'Vibuthi' and 'Wob Glass'. If only looking to pick up a few Ozric albums, I would suggest this should be in that lot.

Ownership: 1995 Dovetail (CD). Acquired in 1997.

1997; 4/19/20 (review)

Curious Corn (1997)

Seems every time I talk about Ozric Tentacles it feels like I've already had that discussion. Honestly I have too many Ozric albums, and it's "too much of the same thing". Where does that really start though? Here? Well, I thought maybe so, but on reflection this one gets through the gate. 'Spyroid' seems more Eat Static than Ozric, but by the time of 'Oolite Grove', we're back in the comfortable world of Ed Wynne and Co. Ripping guitar solos, frequent changes, and excellent melodies. Hard to be critical of that. Curious Corn features some of their more known classics such as the title track, 'Papyrus', and especially 'Oddentity'.

Ownership: 1997 Madfish (CD). Acquired in 1997.

1997; 4/16/20 (review)

Strangeitude (1991)

Long ago (1989-1992), a buddy and I hosted a monthly six hour radio show on Dallas' local NPR station (one of those Saturday night fill-the-airwaves from midnight to 6 gigs - and I did it as a volunteer) showcasing underground progressive rock, jazz, and electronic music - pretty much the oeuvre I write about here minus hard rock and metal. It was in 1990 that we were first introduced to Ozric Tentacles via a mutual friend who had just purchased the 2xLP set Erpland. We were both mightily impressed, immediately picked up its predecessor Pungent Effulgent (the earlier cassettes weren't widely available back then), and proceeded to play choice cuts from each album. We did get many requests for them, as Ozric has a sound that is immediately likable.

A year later, we were super excited to learn of their new album Strangeitude. And it did not disappoint at all. 'White Rhino Tea' is as progressive a track as Ozric ever penned, with constantly shifting themes and meters. 'Bizarre Bazaar' is this album's 'Kick Muck' - tight and energetic. And they finish on a high note with the blistering 'Space Between Your Ears', where Ed Wynne really lets loose, and is one of their best tracks in their entire canon. For my tastes, I've never been a big fan of Ozrics' pure electronic work, and here there are two, including the title track and fan favorite 'Sploosh!'. The latter does have a foot stompin' beat, but would have been more effective at half the length I'd estimate. So not perfect, but still an excellent 3rd album, and showed the world that they still had plenty more to offer from a creative standpoint. This latter element would slow over the years.

Ownership: 

1991 Dovetail (LP). Acquired in 1991.

2010 Madfish (CD). Hardbound digipak cover with photos plus an extra disc of live material from this era. Acquired in 2018.

1991; 4/17/18 (review)

Spice Doubt Streaming (1998)

If you are seeking out the high octane variation of Ozric Tentacles, then look no further than Spice Doubt Streaming. This album completely eschews their reggae and new age electronic characteristics, and focuses strictly on their ability to set your stereo in flames. Which is my favorite aspect of the band. The first good clue is that the album opens with two of their most incendiary tracks - both the opening salvo on their respective albums (Become the Other, Erpland). 'Eternal Wheel' remains my personal favorite track by Ozric, and it's probably the only song on here that isn't quite up to the task of the studio version. The others I feel surpass their studio equivalents. And these aren't the only openers they chose. Perhaps best of all is 'Dissolution' (from Pungent Effulgent), which is absolutely lethal here. Elsewhere they have two of their most intense electronic pieces in 'Sploosh!' (Strangeitude) and 'Oddentity' (Curious Corn). If that isn't enough they throw in two mid album barnburners with 'Papyrus' and 'Myriapod'. Only to be bested by two new compositions 'Citadel Jam' and 'Spice Doubt', the latter renamed and re-recorded as 'Space Out' on Swirly Termination. All that's missing is 'Kick Muck'! But that track had already been well represented on prior live outings. All of these were their live debut on CD at the time.

What a smoker. This is probably my favorite Ozric Tentacles album, only in that it filters what I like best by them. And I have to say, I enjoy all of their albums! So there you have it.

For some reason, I did not buy this when it first came out. I can recall having an opportunity to buy it at Tower Records in the SF Bay Area not long after release. I think I was suffering from Ozricitis at the time and passed. Apparently the unique oil based packaging of the private release is now a mess so it's a good thing I did pass. A few years later I bought the Snapper reissue in a traditional tri-fold digipak (as shown).

Ownership: 2003 Snapper (CD). Tri-Fold digipak. Acquired in 2005.

2005; 2/24/17 (review)

Paper Monkeys (2011)

Ozric's best studio album in about a decade. Paper Monkeys seems more motivated than the last few efforts. Definitely more energy, and features some fine guitar rave-ups from Ed Wynne, similar in that way to The Floor's Too Far Away (another newer Ozric album that I'm quite fond of). Electronica continues to influence their sound - perhaps even more so than prior. There's no mistaking this is an Ozric Tentacles album, and it doesn't appear they're ever going to change the formula. But for what they do, this is one of the better ones.

Ownership: 2011 Madfish (CD). Acquired in 2011.

11/28/11 (review)

 

Jurassic Shift (1993)

While listening to any album, I tend to read other reviews of what I'm listening to. I get the feeling that most reviews of Jurassic Shift were penned considerably later than the actual listen, or they weren't paying attention. For me, the most telling is the short shrift that 'Feng Shui' receives. To me it's one of their most innovative tracks, and the type of composition I'd like to see Ozric focus on more. In general I read things like "their requisite boring reggae song", "dull", and "spacey soft new age music". Did they actually listen to the whole song? Not only did they mix in traditional Chinese themes (new for them), but the last half of the track is the heaviest Ozric ever got on tape. Ed Wynne tears it up - it's almost metal, something that Ozric stays (fortunately) away from, but in this context is breathtaking. I didn't see one review that even noted it. Wow.

By 1993, Ozric had already made quite a splash worldwide. Enough so that they were signed to a relatively large US label called IRS, and this was the debut for the label. I decided to stick with the original UK import. The big deal, at least made at the time, was that the covers of the CD and LP were made from a blend of straw and hemp. The latter sort of being wink wink I suppose. I had the original insert that discusses the full process and that it didn't involve any trees. It was considered an ecological breakthrough! And then neither Ozric, nor anyone else, ever used the process again. You think it wasn't cost effective? You know it.

Ownership: 

1993 Dovetail (LP). Acquired in 2017.

2003 Snapper (CD). Tri-fold digipak. Booklet has essay as does the inner digipak. One bonus track. Acquired in 2026.

First copy: 1993 Dovetail (CD). Acquired in 1993.

1993; 2/4/10 (review) 

Erpland (1990)

In the mid 1980s there was a burgeoning new music scene coming out of the rural fields of England. They lived the "hippie ideal" of a lifestyle unencumbered by responsibility, and that which included many free music concerts. On the music front, many of the groups were influenced by the relatively obscure UK group Here and Now, who steadfastly held to the notion that music should be free (not to mention the musical similarities between the two bands). To sustain themselves, the various bands in the scene took a page out of the heavy metal handbook, and began to make self-produced cassettes that were traded and sold at the many various concert events. As is often the case with movements such as these, many grew tired of the lifestyle and moved on. And the bands themselves began to consolidate, where the most serious and most talented would take it forward to a more professional level (Amon Duul II anyone?). And just as Metallica represented the Bay Area thrash movement, Ozric Tentacles became the icon for the UK Festival Psych scene.

Personally I had no idea any of this was going on in the 1980s. Even though I had plugged myself into the various mail order catalogs of the day, most notably England's Lotus Records, I must've looked past these items that were for sale. Or not, I'm not entirely sure. Erpland was my introduction to the band, and I bought the LP not long after it had been released. I quickly snapped up the prior Pungent Effulgent as well on LP (Demi Monde). To my ears, Ozric Tentacles is a very easy band to get into. In fact, to this day, when someone wants to hear a few notes from "something in your collection", I'll pull out Ozric. It never fails to satisfy the guest. Sure, I could also pull out Magma's Mekanik, and have everyone screaming from the room. And for the rare person who doesn't go screaming, I begin to worry about the safety of my family. Anyway.... Ozric Tentacles has an instantly likable sound, that also happens to rock hard. Of course it must be stated that Ozric didn't create the wheel. To say they were heavily influenced by Hillage era Gong would be an understatement. But what Ozric did do successfully is to distill certain elements of that sound, perhaps the most popular ones for many a Gong fan, and take it in different and exciting directions.

Some 20 years on from Erpland, nothing has changed, and Ozric has well over a dozen more studio and live releases. This has been the most common criticism of Ozric Tentacles. That there has been no progression, no experimentation with other sounds, instrumentation and ideas. The term "Ozricitis" was born and now applies to other bands who follow a similar path. But it's not entirely fair either, as each album, when heard on its own, does possess a unique quality. It's just a tight window frame that they operate in, that's all. The key with listening to Ozric Tentacles is to not listen to many of their albums at once. Take one in, absorb it over time, wait a few weeks or months, and then do the same with a different album. It does alter the way you hear the band. The irony in saying all of this is that Erpland is Ozric Tentacles' most diverse album. And is probably the ideal place to start.

If I were to recommend one track from this album, and perhaps recommend one track from their entire discography, it would the album's opener 'Eternal Wheel'. It has all the elements of a great Ozric composition - the psychedelic ambiance, the trippy progressions and the ferocious guitar lead climaxes.

Ownership: 

1990 Dovetail (2xLP). Gatefold. Acquired in 1991.

1990 Dovetail (CD). Acquired in 1995.

1991; 1/28/10 (review)

---

Waterfall Cities. 1999 Phoenix Rising (CD). The band that defines "too much of the same thing". I've already let go of a few albums by them, and there will be more. On the other hand, they also have some albums I truly treasure - rated at the very top. So if you ask me if I like Ozric Tentacles, I would say they are one of the greatest bands to have come around these last 40 years. And they didn't release a single bad album. A remarkable run. 

Other albums I own: Pungent Effulgent; Arborescence; Swirly Termination; The Hidden Step; Spirals In Hyperspace; The Floor's Too Far Away; Technicians Of The Sacred.

Previously owned: Their first 6 cassette releases; Waterfall Cities; The YumYum Tree

1/28/10 (new entry)

Saga. 1974 Sweden

Saga are a guitar based rock band founded by ex-November members. Great fuzzed-out bluesy guitar ferociously played over jazz, hard rock, folk, and progressive styled tunes, sung in the native tongue. Similar in sound to many of the 1970s Swedish groups, though this is quite a bit more expressive in places, taking it to a higher level. In fact, for the style, perhaps the highest level! How many bands from the modern era (especially from Scandinavia) have we heard trying to capture this very sound? Hear the real deal first, before sampling the imitators. The last two tracks are nothing short of phenomenal.

Ownership: LP: 1974 Sonet. Single sleeve. Acquired from a friend (2000). Beautiful cover.

 

1997 (first listen); 8/8/09 (review); 4/19/20 (update / new entry)

Fusioon - Fusioon (2). 1974 Spain

Fusioon's second album sees the band tighten the ship a bit and there's more focus on a Canterbury like sound. Vocals have been added effectively as well. A very fine album, that fits perfectly between their first and last albums.

Ownership: LP: 1974 Belter. Recent online acquisition from France (2020). Single sleeve with an eye catching day-glo orange and green crocodile cover. The 1997 CD on Divucsa doesn't offer too much beyond a short history in Spanish and a few b&w photos. So I let it go.

4/19/20 (new entry)

Cliffhanger - Not to Be or Not to Be? 1996 Netherlands

I've spoken of Cliffhanger (and NoVox) before here on UMR. Quite possibly the most unheralded progressive rock group from the 90s. They are traditionally lumped in with the neo prog crowd, but their sound doesn't match. And it seems they are judged through that genre's lens rather than via an older outlook. Cliffhanger are influenced heavily by the usual suspects like Genesis and Yes, just as Marillion, IQ, et al, but their instrument and production choices point more to the early 70s. The only comparable band from this era would be Simon Says (Sweden). Their overall sound is closer to Anglagard than Pendragon, let's put it that way. Not to Be or Not to Be? is Cliffhanger's sophomore album, and probably their best. Certainly their most adventurous work. If you're just learning of this group for the first time, grab an online sample to validate, and then scoop up one of those cheap copies that are still available.

Ownership: CD: 1996 Musea. Excellent new CD presentation with full lyrics and artsy photos.

Social Tension - It Remainds Me of Those Days. 1990 Japan

It wasn't that long ago I re-listened to, and added to the UMR, Social Tension's debut Macbethia. It Remainds Me of Those Days is a very similar experience, though even more retro sounding. This was long before the term "retro prog" even entered the lexicon. If you enjoy the heavy organ driven sounds of the early 1970 UK progressive rock scene, then Social Tension is an easy recommendation. Even considering the rather awkward vocals.

Ownership: CD: 1990 Made in Japan. Standard issue jewel box CD with obi. I do love the cover artwork on both of the Social Tension albums. Worth noting that the title is not a typo. Now whether or not Social Tension were purposely trying for a play on words with Reminds and Remains, I cannot say. A later compilation refers to it as Reminds, which of course makes more sense. Was part of a large collection buy in the late 90s.