Scope II. 1975 Netherlands

See Scope 1974 entry for notes about the music.

Ownership: LP: 1975 Atlantic (Germany). Single sleeve. Online acquisition (2005). 

8/6/09 (CDRWL); 7/30/20 (new entry)

Scope. 1974 Netherlands

Scope were a band from the Netherlands that released two highly respected instrumental albums in the mid 70s, and pretty much wallowed in obscurity after that. They were a mainstay of my CD Reissue Wish List until this summer. My scratch off notes from then suggest: "Exactly the type of instrumental progressive rock I like. Has a slight jazz edge, and rocks hard with plenty of great guitar, Rhodes, and flute solos. Like a cross between Finch, Secret Oyster, Bill Connors era Return to Forever, and the Swedish band Energy. Both albums are smoking hot!"

And if I were to review both albums together, as I did then, I think the above holds true. The debut is an instrumental progressive rock album with fusion tendencies. And Scope II is an instrumental fusion album with progressive rock tendencies. The differences are small, but is noticeable in the overall instrumentation and sound. What separates Scope from the pack is the songwriting, and the focus on melody, something the Dutch are historically great at. It's not enough to impress with chops, there needs to be meaning behind these notes. And they also know how use color, timbre, and dynamics to make each song distinct from each other. Music like this was dime a dozen in the 70s and yet Scope transcended that typical style to the next level. Both albums are essential, especially for fans of the aforementioned bands in my original notes.

Ownership: LP: 1974 Atlantic. Single sleeve. Online acquisition (2005).

CD: 2020 Sireena. Rough paper digipak CD with liner notes and two excellent bonus tracks from pre-Scope group Strange Power (both from an obscure 45).

2005; 8/6/09 (CDRWL); 7/30/20 (new entry) 

Taramis - Stretch of the Imagination. 1991 Australia

There was a time between the late 80s and early 90s where metal bands continued to extend the boundaries of the style, to the breaking point. Most of them having come from thrash and traditional heavy metal backgrounds. Sometimes the music was surreal in its complicated approach. It was almost as if the 70s prog rock bands at reemerged during the thrash era, and the end result was often mesmerizing. None of these groups were particularly successful on a commercial level, though the more known entities managed to sell quite a bit of copy. Mekong Delta, Realm, Anacrusis, Psychotic Waltz, and Thought Industry were just a handful of the most recognized names. For my tastes, this era of metal was the zenith of the style. The music must have been difficult to perform live, and lacking any kind of commercial enthusiasm, the style seemed to disappear overnight. By 1994, more contemporary and direct styles such as Nu-Metal and Groove Metal began to emerge, seemingly as a response to progressive thrash.

Australia's Taramis were yet another band who made a go at this most interesting metal genre. They started as a traditional heavy metal band, but by 1991 - the heyday of prog thrash - they released Stretch of the Imagination. As apropos a name as one could think of. And Taramis proved they were quite adept at it too. The vocalist is more in control than most (though hardly smooth), and the sound is crisp yet chaotic. Best of all is the bass playing, not an instrument that always gets highlighted in music such as this. All in all, another excellent example of progressive thrash, and well worth your time if music like this interests you at all.

Ownership: CD: 1991 Rising Sun (Germany). Purchased new online sometime in the late 90s.

Obsession

A strikingly great psychedelic compilation from various corners of the globe, including Turkey, India, and South America. India's Atomic Forest contains an incendiary fuzz sound that I've not heard since Fire's Could You Understand Me. Turkey's reps include the familiar Erkin Koray from a wonderful obscure 45 side, and the oud master Arif Sağ, who apparently for a short time in the early 70s enjoyed plugging in and added psychedelic effects to the traditional Turkish lute. Ersen also gets a swing of the bat, to great success.

South America is primarily represented by Brazil with Peru, Uruguay, and Argentina all participating. As expected, most of these cuts come from incredibly rare 45s and albums, and are uniformly great. The kicker has to be Sonora Casino, who normally play in a traditional Peruvian style. Their contribution to psychedelia is 'Astronautas A Mercurio' which not only drifts from the comfortable Cumbia sound, but is one of the most whacked out psychedelic tracks I've ever heard. Stunning really.

Ownership: CD: 2008 Bully. Recent online acquisition. Nice little comp here, with short notes on each band and piece of music.

Anamorphose ~ France

Palimpseste (1986)

Anamorphose's sole work can simply be described as a very active jazz fusion album. At times I'm reminded of Abus Dangereux's debut, and others you'll hear some of Yoch'ko Seffer's 1970s works. The rhythms are smoking throughout! I prefer the tracks where the lead instrument is flute verse the more favored soprano sax, an instrument that can grate on me over time (we can all blame Kenny G. for this). There's some great interludes of violin as well. Good album for the date, especially considering the wasteland that was 1986.

Ownership: 1986 Gryl (LP) 

Not reissued as of 3/28/25

9/24/10 (review); 7/30/20 (update / new entry)

Randy Holden - Population II. 1970 USA-California

After playing on one half of a Blue Cheer album, Randy Holden launched this almost literal solo album with the addition of the drummer from Kak (hence... a population of 2). For fans of loud, bluesy guitar, and screaming gruff vocals with pounding 4/4 rhythms, then look no further. No tricky meters or any of that art school stuff here. Nope. Just blitzed out hard rock. One style, all the time. Population II could very well be the source of the "just turn the amps to 11" gag. It's so uncompromising, it was bound to be a cult classic. And it is. Defines the "total bonehead" ethos. The album today has its modern critics, because of the inherent legend. But for the time and place, there really wasn't too much music like this on the open market. Most of them at least included some songwriting... I wouldn't want a whole collection of this sort of thing, but from an historical perspective it does have its place in history. And there are days when albums like this sound great. Besides... I live in a cave.

Ownership: CD: 2020 RidingEasy. Purchased new upon release. Disappointing reissue. Straight music and nothing else. Would love to have gotten the backstory on the album, even if I can find it on the internet. Give us something new, please. Why waste the opportunity? Reviews tend to be negative about this label's LP reissue, but it seems to be targeted at the vinyl quality rather than mastering. This is way too much in the red zone though, creating a little distortion. Not the most punchy production I've ever heard either, but even early LP reissues go for a pile, so this will have to do. I tend to keep albums like this that have historical value, though that may not be permanent.

2/2/07; 12/12/13 (CDRWL); 7/30/20 (new entry); 8/29/23

Man - Original Album Series Vol. 2. Wales

Man - like the Grateful Dead - are judged more by their live output than studio offerings. And true to form, I've not really been too enamored with any of Man's regular albums, though perhaps it's high time for some revisits. Like the Grateful Dead, songwriting isn't their ace in the hole. But jamming in a live setting is an entirely different skill set, one that Man possesses in spades (let's play cards shall we?). I hadn't really ever delved into their live work prior, but based on many a recommendation, I decided I probably should get on that. And this Original Album Series addresses only the live aspect of Man, whereas Vol.1 is for their early studio albums. I was familiar with Live at the Padget Rooms Penarth, and to be honest I wasn't overwhelmed by it. For many music fans, this recording is considered the apex of their canon. So what do I know? As for the others, they all scored better in my book. Well... the Christmas at the Patti is a mixed band affair, and related group Help Yourself steals the show on that release. The first 15 minutes are boogie rock bands, and the less said, the better.

The highlights for me are Back into the Future and Maximum Darkness, in that order. Both these recordings catch lightning in a bottle, and demonstrate that Man could build up guitar climaxes with the best of them. Honestly jam bands aren't really my thing, but when they're this good, it's hard to pass up. If you're like me, and only want a handful of stuff like this, you could do worse than pick up this 5 CD budget set.

Ownership: CD: 2016 Parlophone. Typical OAS with original cardboard artwork... and no liner notes. Sigh.

Therion - Theli. 1996 Sweden

To paraphrase what I said about Don Caballero recently, if there's ever been a group that I only needed one album of, Therion would be that band. I bought Theli real time, and it impressed quite a bit back then. Even my new (at the time) bride liked parts of it! And she despises metal. (Still does). So off I went to buy the album before it, and many after it. They're all long gone from the collection. The predecessor Lepaca Kliffoth was still too entrenched in their death metal roots (never a style I warmed up to), while the later titles were almost sleepy and formulaic in their approach.

Theli captures Therion turning the dial from one to the other, and is truly an excellent album. It has the angst of their youth combined with the sophistication of the later years, to create that one-of-a-kind brilliant statement. Certainly Theli is not a masterpiece, but there are hair raising moments here that one rarely gets to experience. A true blend of aggressive heavy metal and serious symphonic music, complete with choirs. I approached this revisit with trepidation, fearing I had completely misread the band, and wasted way too much time and money on them. Instead, it reinforced my initial position. As far as my tastes go, Theli is the only Therion album worth pursuing.

Ownership: CD: 1997 Nuclear Blast (USA). Purchased new online upon release. Nice new album layout with poster booklet and lyrics.

Well Hung (20 Funk-Rock Eruptions From Beneath Communist Hungary - Volume 1)

A reasonably well titled compilation, though I'd submit it's more psychedelic influenced than funk, to be honest. This fine comp brings together a host of well known bands, but the track style isn't necessarily what one would associate with these groups. The music ranges from pop to rock to, yes, funk. The primary glue here is the psychedelic guitar and production effects. Most Hungarian albums I've heard from the 60s and 70s tend to be fairly conservative, yet this compilation indicates that the country might have been just as unhinged as West Germany during this era. It wasn't - not in recorded form anyway. From that perspective, the compilation has done its job, and extracted the best of the best. Recommended.

Ownership: CD: 2008 B Music (USA). Recent online acquisition. This is the way to do comps, with full histories of each artist plus a thesis on the scene in general. Superb.

Fever Tree. 1968 USA-Texas

This was a fun pickup for me. I first heard Houston's Fever Tree on the radio going back to the early 80s. I was intrigued but never really pursued them. In the latter part of the decade, as I was deep diving into progressive rock waters, I finally had a chance to hear the album. As usual with psychedelic records, my ears at the time just weren't interested, and I wrote it off. 30 some years later, let's try this again, shall we?

The standard review of Fever Tree is the first side is a compendium of superb acid rock, and the second side is pop slop. It's hard to go against the grain on side 1, as Fever Tree gives us a great example of what is commonly known as fuzz psych. The tracks are well-written, and all of them could be consider worthy of the various psych compilations out there. Side 2 is also quite good in my estimation, but it is different. While I would have been perfectly content for Fever Tree to continue as they had, I'm also fine with the direction they chose. The compositions here (or arrangements in some cases) are particularly well conceived. It's a bit disorienting, which to me is a keyword for psychedelia anyway. It's not commercial sounding at all. Fever Tree is a solid album all the way through, just know it's two different styles going in, and you'll be fine.

Ownership: LP: 1973 MCA. Later pressing. Recent thrift store find (in nice shape too).

7/16/20 (new entry)

Banco del Mutuo Soccorso - Transiberiana. 2019 Italy

Banco del Mutuo Succorso would be a good example of my concept of "bands as brands". With charismatic opera styled singer Francesco di Giacomo and long time guitarist Rodolfo Maltese no longer with us, there's no chance for a true reunion. In addition, the original rhythm section is nowhere to be found. And finally, brother Gianni Nocenzi hasn't been with the band for some 35 years. That leaves only keyboardist Vittorio Nocenzi carrying the torch. In tow are 5 new members, each talented in their own right. So if Banco were to remain an functioning entity, it could very well do so even if V. Nocenzi can no longer participate, or even want to.

This prelude is poignant with Banco del Mutuo Succorso because Transiberiana lays out a blueprint for the future, not a retread of the past. When looking at the history of the band, they were part of the original Italian prog movement, and their records in this style spanned only 6 to 7 years. Which for a typical Italian prog band is a lifetime of records, but from a chronological standpoint, it's a very small period of time. Then "Banco" became a pop band throughout the 80s. They returned to participate in the 90s progressive rock renaissance, but mainly as a live act mostly recreating the past. As for new music, nothing special ever surfaced. Their highest rated albums are simply new recordings of past compositions.

Until now. Transiberiana has all the earmarks of the past, including the depth of composition, the talent of the musicians, and those oh-so-critical turn-on-a-dime musical breaks. This is the music of 1973 Banco del Mutuo Succorso moved up 46 years. It sounds every bit like an album from 2019, and the new members bring many contemporary influences to the table. It's up to Nocenzi to school the others on what it's like to be a part of the legacy that is Banco del Mutuo Succorso. And he's done a great job at that, and one gets the sense the band could continue in this vein for many years - evolving the brand as it were. Is this the best Banco album? No. It would be nigh impossible to beat their trio of original albums, perhaps the greatest 3 album run in history. And Come in un'Ultima Cena is another tough one to top. But their best album in the last 42 years? Yes, most assuredly it is!

Ownership: CD: 2019 Sony/InsideOut. Fantastic digibook, one of my favorite styles of packaging. Sturdy as a book basically. Comes with a 44 page booklet, though much is duplicated in English from the original Italian.

7/16/20 (new entry)

Don Caballero - Don Caballero 2. 1995 USA-Pennsylvania

If there was ever a genre I only needed one album of, it's Math Rock. A friend sent me a cassette dub not long after this release, and I was very much intrigued by it, and subsequently bought the CD. To my ears, it sounded like a condensed extract of the most intense parts of King Crimson's Starless & Bible Black, and Red. It was later that I learned that Pittsburgh's Don Caballero were a pioneer in a movement known as math rock. Well, I concluded, I must be a fan of math rock then! I owned a couple of other Don Caballero's, plus a handful of other groups playing in a somewhat similar style. None of which excited me too much, and now they're all gone from the collection, except Don Caballero 2. And I'm keeping it because it reminds me of the intense parts of King Crimson's mid 70's era :-) . Pretty much what you get here is a powerful, guitar fronted, instrumental progressive rock. It can be a bit monotonous and annoying in places, but mostly it delivers the goods. One just has to be in the mood for an onslaught like this. Melodies aren't their strong suit. For what it's worth, Don Caballero apparently distanced themselves from the term math rock as well, which makes sense to me.

Ownership: CD: 1995 Touch & Go. Simple jewel case release, but do love the imagery of Pittsburgh's industrial past. Bought this at Rush-Mor in Milwaukee in 1997, nearby to where I was working at the time.

6/27/97; 7/16/20 (new entry)

Eldritch - Seeds of Rage. 1995 Italy

Seeds of Rage is the debut album from Eldritch, a long running Italian progressive metal band that is active until this day. Though their name was taken from a Watchtower song, Eldritch are clearly more entrenched in the Dream Theater school, rather than the ultra technical namesake band.

I first purchased this album enthusiastically not long after its release. A few years later, when purging some progressive metal titles - a style I was tiring of at the time - the album found its way on a bus out of here. Fast forward about 20 years, and I decided to pick up the album one more time, to much better success. And six years later, we're checking it out again.

In retrospect, Eldritch's debut is a fine progressive metal album, that does just enough to separate from the pack. No doubt influenced by the technical, and somewhat speedy variation, of Dream Theater's early 90s output. The music is straight out of the 90s metal handbook, with high pitched vocals, thrashy riffs, complicated rhythms, digital synthesizers, and a rather slick production. There's not a lot of variation in their tones, so it can get a bit monotonous after awhile if not paying strict attention. There's no stand out tracks, yet everything is well performed, and the music has enough meter changes and compositional differences to keep it interesting. A solid entry in the large book of prog metal albums. Worth checking out.

Ownership: CD: 2006 LMP (Europe). Superb package in a slipcase with a full sized poster. Also includes a handful of interesting bonus tracks, which were early demos.

1997; 5/1/14; 7/16/20 (review / new entry)

Il Paradiso degli Orchi - Il Corponauta. 2016 Italy

Il Paradiso degli Orchi are a band I've been reading about here and there, and was intrigued by the descriptions. Especially one that referenced Jumbo. That's like telling my wife there's a shoe sale going on at Nordstrom. At its best, perhaps it'll be the complete surprise that Le Porte non Aperte's Golem ended up being. Well, not quite that, as the vocals are not Alvaro Fella-like. But rather the music is put together in a way that the classic early 70s Italians would do. It all goes together, somewhat haphazardly, but not in the pejorative sense of the word. From the moment you hit play, until 79 minutes later, you will have no idea where it will take you. But it never gets boring or tedious. Like many of you, I also think 79 minutes of music on the same album is daunting. But Il Paradiso degli Orchi pass that test. Il Corponauta is an investment of time, no question about it. But one that is likely to age well on multiple plays.

Il Paradiso degli Orchi already had one release under their belt - one I've yet to hear - before a familiar presence entered their lives. And that would be Fabio Zuffanti, a gentleman who is almost single-handedly bringing Italy back to 1973. So yes, La Maschera di Cera most assuredly belongs in the conversation here. Even though there's quite a bit of mellotron (probably sampled), the instrumentation and production are not necessarily retro, though it's attempting to be so. In that way, Il Paradiso degli Orchi reminds me of early La Maschera di Cera. Flute is another predominant instrument, and played in a manner that does recall the early Italian masters. Nice vocals sung in proper Italian, guitars, and a snappy rhythm section round out the group. Place Il Paradiso degli Orchi in the stack that also includes Ingranaggi della Valle, Unreal City, La Coscienza di Zeno, and Distillerie di Malto. And many others. Lunga vita al prog Italiano.

Ownership: CD: 2016 AMS. Like most of the AMS albums, the CD is housed in a wonderful mini-LP gatefold cover. Also contains a booklet with lyrics.

7/9/20 (new entry)

Damon - Song of a Gypsy. 1968 USA-California

David Del Conte was born and raised in Rochester, New York and moved with his family to southern California as a young teen. Obviously the freewheeling 60s culture of The Bear Republic captured the imagination of Del Conte wildly, and he transformed from a lounge crooner to the ultimate outsider psych head - complete with an ankh earring. Damon's singing style isn't that far removed from Jim Morrison and there are many parallels in their approach to music.

Song of a Gypsy is such a bullseye for what record collectors are looking for, one would almost think it was manufactured to be so from some modern enterprising record label. The album combines the loner, real people, authentic lost-soul archetype with screaming fuzz psychedelics. It's almost too good to be true. But it is absolutely real, and thus Song of a Gypsy is most certainly in the top 10 of sought after psychedelic LPs, if not #1 for those who love the obscure.

In what has to be one of the odder conclusions for such a psychedelic gypsy, what did Damon do for a living during the 1980s? Obvious he played street corners and panhandled for money, or lived a secluded life in a forest hidden from everyone but wolves and deer. Right? Nope. He ran a bowling alley in So Cal owned by his family. That must have been some bowling alley! Will require more than a fingertip grip to Strike that one from the mind. Though, come to think of it, the Amoeba in Haight Ashbury was an old bowling alley. There's a hidden meaning in there somewhere. Perhaps I listened to Damon too much last night....
 

Ownership: LP: 2005 Guerssen (Spain). Gatefold + SP. Online acquisition (2014). It's a nice replica, though the cover is smooth, not textured, and certainly not leather. It also comes with a 33 RPM EP that includes his 1967 single plus 2 other tracks. The single is great (side A) but the other 2 tracks (Side B) do not represent the same sound. Oh, and it comes with a nice historical insert. My first copy was the 1997 CD that was reissued by Del Conte, and it's very basic without any additional info (and uses the alternative face cover), so I let it go.

7/16/97 (UTR magazine); 2005; 7/9/20 (new entry)

Victoria. 1969; 1971 USA-New Jersey

Victoria were yet another obscure band from the US who self-released an album for potential signing, only to be completely forgotten until 20 years later. They're a large ensemble with female vocals, and occasional stinging fuzz guitar. Also some creative keyboard work. Features a 12 and a half minute track 'Village of Etaf' that most certainly predicts the oncoming progressive rock movement. Despite this, the best songs are the hard driving 'Gevaro' and the mesmerizing Group 1850 styled 'Core of the Apple', especially considering the vintage organ sounds. There's also just some OK tracks interspersed that presumably were more geared toward radio play, but haven't really aged that well.

Ownership: LP: 1997 Little Indians; CD: 1998 Little Indians. Similar to the Jungle album, this LP was reissued in a beautiful velvet cover, this time in the color red. But otherwise it's a brick. The CD is exactly the same as far the velvet goes. This time though, we are treated to 7 bonus tracks, mostly from their more pop focused material. It also includes some photos of the band. I don't think Discogs have the dates right here. I bought this LP at the same time as the Jungle, and I'm mostly sure it was in 1997 (they have it as 1998). The Jungle album is dated as 1997 as well. Also, I'm pretty sure the CD came a bit later than the LP, though it's something I picked up about 10 years ago, so I can't claim more than that.

Mighty Baby. 1969 England

Mighty Baby were one of the big names in the collecting world of the 1980s. And I was very fortunate to stumble onto their second album A Jug of Love at a used record store during that period (for all of about $5). I couldn't wait to play it, only to hear what I would call country rock. Whaaaat??? I couldn't it get out of the collection fast enough. Fortunately it was the rarer of the 2 albums and I was able to trade it for something more to my tastes that was also rare (you should see what this goes for now - not for me!). I haven't heard A Jug of Love since then, but I'm sure I'd appreciate it more these days. But back then I thought everyone was insane calling Mighty Baby a great psychedelic band.

Oh. They meant this album, something I didn't get to hear for another 10 years after A Jug of Love. Now I get it! Interesting to hear this back to back with the Gun album that I also just reported on. There are many similarities between the two. Mighty Baby are a bit less direct and intense, but the songwriting is more advanced. Why there is no doubt the music belongs to the psychedelic genre, Mighty Baby have some early progressive rock components. Clearly they were a talented band who could have taken the music to new levels of complexity, and possibly some commercial success (it was the early 70s after all). But instead they went the route of the Grateful Dead. Which didn't work out for them obviously. Anyway, easy recommendation for psych fans.

Ownership: CD: 1994 BGO. Fine reissue with liner notes and 5 bonus tracks from the pre-Mighty Baby band The Action. These latter tracks all come from an archival EP from 1985 called Action Speak Louder Than... Part of a large collection buy in the late 90s.

Gun. 1968 England

One of the heavy hitters of the British psych scene, Gun delivers a powerful set of tunes. There's some orchestration here, but it reminds me more of Uriah Heep's Salisbury than the usual strings focused syrup. That is to say it's more brassy, which adds even more gravitas to the proceedings. The Curtis (Gurvitz) brothers drive the music forward, in particular Adrian's lethal fuzz guitar. While most bands in this type of heavy psych field were obscure, Gun were a known entity. And musically they were about a year or two ahead of the pack as well. Not one to overlook for psych heads.

Ownership: CD: 1989 Repertoire (Germany). Liner notes are nothing more an old real-time Melody Maker review from Chris Welch, who heaped lavish praise on the album. Contains one bonus track as well. Part of a large collection buy in the late 90s.

Ginhouse. 1971 England

At times I've placed Ginhouse in my progressive rock collection but really it belongs in the hard rock section. Some really good energetic heavy rock with fine rhythm guitar sets this one apart. I've been close to a 12 (4.5 stars) on this title, but now I'm closer to a 10 (3.5 stars. Keeping it either way. One of those albums that seems like it should have been on Vertigo.

Ownership: CD: 1993 Green Tree. Yet another doozy of a reissue from the always dubious Green Tree group (to be fair, they did improve quite a bit over the years). This one offers nothing extra including notes. 

May Blitz - The 2nd of May. 1971 England

The 2nd of May is decidedly heavier and more energetic than the debut, though it does feature one annoying drum solo. Still it's the better of the two albums IMO.

Ownership: CD: 1992 BGO. Same as noted on the debut. This would be the first non-Japanese legit reissue for this title. 

Budgie - In For the Kill. 1974 Wales

4th album from pioneering heavy rock band, and it doesn't disappoint. Almost all the tracks are excellent, and 'Zoom Club' is one for the ages - a track that encapsulates all that is great about Budgie: Heavy riffs, jamming solos, creative breaks, high pitched vocals, and grooving rhythms. Also has a slight proggy component that shows up in disparate places. If you have any interest at all in the origins of heavy metal - or thought provoking hard rock - then early Budgie is a must.

Ownership: LP: 197? MCA (UK). Single sleeve. Acquired from JL (2023).

CD: 2016 MCA (Europe). Super box set that has 3 gatefold mini-LP sleeves as well as full liner notes. The CD compiles their 3rd through 5th albums: Never Turn Your Back on a Friend, In For the Kill, and Bandolier. Arguably these are the 3 best albums in the Budgie canon, and demonstrate why they were an influence on the original NWOBHM movement. I was very pleased by the sound - better than the Repertoire CDs I had. No bonus tracks. I'm not sure why they didn't press on with The MCA Albums 1971-1975 and cover the first 5. That would have been even better.

7/9/20 (new entry); 7/8/23 (LP add)  

May Blitz. 1970 England

Yet another British heavy psych, hard prog album that I’ve been happily revisiting from my collection. Interesting how strong the acoustic component is on this one. Still very much blues based, but a bit more wigged out than most in the genre. 'Fire Queen' is their most intense composition whereas 'Dreaming' is at their most trippy. Very original within the boundaries normally associated with heavy blues rock.

Ownership: CD: 1992 BGO. A fine reissue that contains both of their albums in full. The liner notes are informative though relatively short . My first exposure to this title was via the Paramount LP (a late 80s record store find), which I sold years ago.

2/05 (OMD) 

Baba Yaga ~ Germany

Baba Yaga (1974)

Baba Yaga were a very obscure German group who released two albums in 1974, of which neither have much in common with each other. Ingo Werner is the only member on both, suggesting that Baba Yaga, in reality, are nothing more than a pseudonym. The debut is their song oriented album, performed by a 5 piece standard rock band (including copious use of mellotron), whereas Collage is the experimental underground outing recorded by the duo of Werner and Nemat Darman.

This review covers the debut, and after listening to the first four tracks, could easily be confused with any similar era UK melodic prog rock effort (Fantasy, Still Life, Cressida, etc…). Even the English language vocals, usually a disaster for pre-metal German groups, are executed flawlessly here by Bernd Weidmann. Ingo’s former band, My Solid Ground, provides another musical reference, though Baba Yaga is not quite as doomy or heavy. And there certainly isn't a highlight track like 'Dirty Yellow Mist' to rely on. However, from the fifth song on, the proceedings get considerably more interesting. Starting with the instrumental 'Rebekka', which itself is a beautiful piece with mellotron, acoustic guitar, bassoon, and piano. 'Turdus Merula' follows, a bit darker in tone, and is yet another powerful instrumental track with mellotron (as a featured instrument, rather than just embellishment), percussion, and piano. 'Intoxication' is similar but adds a rocked out mid-section that includes a wonderful psychedelic guitar solo (and sounds as if inserted from another jam session). Closing out the album is 'La Tombeau', a dark instrumental piece featuring organ, mellotron, piano, and percussion. It's interesting to note that it appears Werner is handling all of the instrumental work on these four tracks, perhaps revealing that in fact there wasn’t enough material from the five piece unit, and he appended these songs to fill the album. 'Homage A' appears to be a limited group effort, minus the vocalist and duo of guitarists. The odd track out on the back half of the disc is 'Powerful Hand', which would've fit nicely with the opening quartet of cuts.

Ownership: 2016 Wah Wah (LP). Not a particularly great reissue unless weight of the vinyl matters to you. Single sleeve, and the only additional info is on the hype sticker. Good enough though. 

No CD reissue as of 3/28/25.

9/4/06 (review); 7/20/20 (update / new entry)

Éléphant Tôk - Sitting with Bull. 2018 France

I'd heard about Éléphant Tôk (Elephant Tok) since they first broke onto the scene a few years ago. The reviews were mixed so I decided to take a pass. Not much has been said about the followup, and when a new copy came up for sale at a bargain price, I decided to chance it. That was a good move. Éléphant Tôk provides a unique twist on a patented formula. With the driving bass, thundering drums, and Fender Rhodes noodling, there is no question this is the music of Zeuhl. The vocals are a bit different, sometimes in chanting Kobian mode, other times a weird style of narration (and what appears to be English,  not always intelligible). I think I've even heard the word "rap" used, but I would avoid that connotation, as that's not really the spirit of the art form provided here. In any case, vocals are not predominant. Jazz rock is another element to consider here, as the music has a loose structure at times, but never wanky or out of control. The production is magnificent, and this allows the thick bass sounds to come to the fore - without a doubt a key ingredient to any Zeuhl album. In the end, one hears an interesting combination of Weidorje, Caillou, and One Shot. The latter is no accident considering former band member and drummer Daniel Jeand'heur is the driving force behind Éléphant Tôk. Worth investigating.

Ownership: CD: 2018 D3P Productions. Discogs defines the packaging as: "A gatefold folder-style mini LP sleeve with color cardboard CD sleeve in a resealable clear plastic sleeve." It's a bit unique, unlike any other CD I own.

Crucifer - Première Heure. 1973 France (archival)

Crucifer is a fantastic recent discovery, that gives us hope we have still yet to exhaust the possibilities of the era. The music is the type of heavy prog we associate 1973 with - with Hammond, Mellotron, flute, woody bass, psychedelic electric guitar, and impassioned vocals. What you wouldn't necessarily associate with is the country: France. I've read comparisons to bands such as Sandrose and Ergo Sum, and while that isn't wrong by any stretch, the music on display here is far more complex and less rooted in the psychedelic era. What Première Heure brings is exactly what we have come to expect from Italy - minus the home language. A creativity with no boundaries. Music like this tends to grow in stature with every listen, and I expect the same here. And the sound quality is excellent - perhaps a couple of weeks away from going to production, but this is far better than your usual archival garage tape find. If looking for an archival comparison, perhaps Satan is a good match, though Crucifer is less detached from the familiar French theatrics.

French archival albums such as this use to be the sole provenance of Musea in the 1990s. Recently it's been Monster Melodies that have taken the reign. Given the lack of details with the release (see above), one wishes that perhaps they had been involved, as consultants if nothing else. Despite this, it's the music that truly counts, and on this front Crucifer is all aces. Not to be missed.

Ownership: LP: 2017 Cameleon. Recent online acquisition. Single sleeve with no information. From an historical research perspective, this archival release is a disappointment. But the music and sound make up for it. As long as this website stays up, you can learn a ton about Crucifer (all in French though - Google will translate). Too bad they didn't include it as a multi-page insert inside the LP.