Klaus Schulze - Irrlicht. 1972 Germany

Klaus Schulze's debut is a dense work, bordering serious Classical. No trademark sequencers to be found here. Systems music with an orchestra, or as the cover suggests Quadrophonische Symphonie für Orchester und E-Maschinen (I'm telling you, Spelling Bee champions in Germany must be impressive!) To me, at first, the strings sounded like mellotron - just in the way the sound is presented. This is music to write about the end of society as we know it. A dirge. Dark, abstract, formless. 

Ownership: LP: 1972 Ohr. Beautiful Gatefold (with the requisite Made in Germany sticker on the back). Purchased in 1990 at the Sound Exchange in Austin, Texas. Still has the price sticker affixed to the label - $7.99. So there you have it. I was with long time collector friend Purple Peak Jeff, and we went there after the Austin Record Show. Junkies we were (are). Been ages and ages since I last heard this album, before today.

10/13/90; 12/31/21 (new entry)

Tasavallan Presidentti. 1971 Finland

Tasavallan Presidentti's second album, released only in Sweden oddly enough, is very much in the spirit of other albums from the UK and Continental Europe during this time. Bands as disperse as Colosseum, Ahora Mazda, Tonton Macoute, Zior, and Ikarus come to mind. Strong woodwinds (flute;sax), gruff vocals from Englishman Frank Robson, and excellent guitar from Jukka Tolonen highlight this excellent period piece. If you're already a fan of early 70s European progressive rock, then Tasavallan Presidentti's sophomore effort is one more to add to your stack.

Ownership: LP: 1971 Columbia / EMI (Sweden). Single sleeve and it still has the original EMI audiophile inner. Online acquisition from 2013. Almost 9 years later, I'm finally hearing this copy (and add another decade since I heard the album at all). Because it was released in Sweden, and not Finland nor the UK, it's by far the scarcest of the Tasavallan Presidentti albums. Prior to the LP, I did own the CD (2002 EMI Finland), which offers a nice history (preserved below) and lyrics. No bonus tracks. Just not enough there to keep it.

new entry

xxx

yyy

Ambrosia. 1975 USA-California

For many years I scoffed at the notion that Ambrosia were somehow one of America's finest progressive rock bands. Which if we were to compare to bands like Cathedral, Yezda Urfa, and Mirthrandir, that would still hold true. But for the general buying public, the US didn't offer much in that way. There was Starcastle of course, which met its own chorus of derision, for an entirely different reason. The type of groups that got a foothold here were the ones that had a strong commercial sensibility. If the mindset moves towards Styx, Alan Parsons Project, Supertramp, Klaatu, FM, Saga, and early Journey - then Ambrosia has a seat at that table. Of course the previous aren't all American groups, but it's that particular style that the A&R guys were interested in signing. The arrangements go way beyond trivial pop slop, and there's genuine progressive rock hidden in these grooves. As I've gotten older, I'm appreciating more and more this kind of sound - a combination of nostalgia and objective evaluation I'd submit. So yea, this one stays.

Ownership: LP: 1975 20th Century. Single sleeve. I'd been on the lookout for this album in the wilds for the last 3 years, but it's been surprisingly scarce. If couch surfing, you can score a copy cheap and easy. This one came from the Denver Record show a couple of months ago out of someone's $1 bin (2021). The record is in EX shape, but the cover is VG- and it's missing the lyric insert, so I'll keep looking for a better copy.

12/28/21 (new entry)

Steve Hillage - Fish Rising. 1975 England

Steve Hillage's debut is sort of an amalgam of You-era Gong and Hatfield & The North. Certainly the godfather of modern space rock, Hillage's group looks like a proto Ozric Tentacles, complete with wool caps, goofy names, and crazy song titles. Then there's Dave Stewart, probably the last guy to go in for such tropes, though he has history with Arzachel doing just that. With Hillage. Ah what the heck, one more time going out getting high with the boys (and girls) from school before getting serious. Well, sort of serious. So yea, Canterbury goes space rock. A combination that can be nothing but great, especially if one sticks to protocol. And they did.

Ownership: LP: 1975 Virgin. Single sleeve with lyric insert and a Virgin company audiophile inner. Cool artwork. This is an odd one really. For whatever reason, I never stumbled onto the album in my initial used record forays while in college. And there's multiple US pressings to find. When I started hanging around like-minded friends after graduation, it was a glaring omission in the collection. It wasn't until 1992 that I finally secured a copy - an older pressing used CD. Well, good enough. Finally in 2014 I bought a UK first pressing original online, and stored it away. This is the first time I've listened to it, almost 8 years later. Looking at the vinyl, this might be the first time anyone has played it. Perfect mint. That old CD doesn't offer anything (except instructions on how to play a CD - in 4 different languages lol). C'ya!

new entry

Lisker. 1979 Spain

Lisker's sole album is a rather simplistic, primarily instrumental album filled with fuzz guitar and flute, nice melodies, and a healthy amount of energy. From the above statement, two items are worth calling out: 1) The melodies are well thought-out, and are memorable long after the music has stopped. And 2) the guitar tone is decidedly psychedelic, which is quite the rarity for a 1979 recording. Lisker tracks close to the French band Triode in terms of overall sound. And the melodic quotient could make one state that Lisker is to the Basque Country what Gotic is to Catalonia. Plus the psychedelic influences of course. Excellent album.

Ownership: LP: 1979 Xoxoa. Gatefold. There was a time when this was highly sought after and very expensive. I obtained my original copy in a trade back in 1994 from a well known European dealer. When the CD came out, I couldn't resist trading it to a friend / dealer for 30 new CDs. Even today, I question whether or not that was a good idea. But money was much more scarce then for the UMR. However, as is often the case, I reacquired arguably even a better copy, at a cheaper price from a good friend of the UMR in late 2018. This replaces the aforementioned CD that offers nothing else. 

7/7/13; 12/9/18

Fairport Convention - Unhalfbricking. 1969 England

Iconic folk rock album by highly respected English band Fairport Convention. It wasn't that long ago I spoke of my disappointment after hearing Full House, as I heard that as too traditional English folk for my tastes. Largely I could make the same claim here about Fairport's 3rd studio effort, but there are some exceptions, in particular 'Autopsy' and especially the 11+ minute 'A Sailor's Life'. There's just enough here to make me want to keep this, with special consideration given the ownership situation below. And I have to say that the cover is perfect, and gives it a real dimension you rarely see from this era. Those could have been my grandparents, looking somewhat similar in 1969. And to know that Sandy Denny met a tragic end at only 31, is that much more heartbreaking.

Ownership: LP: 1969 Island. Single sleeve. Yes, this is a true first edition UK pink Island with the "block" logo design. This came from the RT collection (2021), and represents for me the bookend of a year long journey that began with Yusef Lateef's Detroit Latitude album. When I add up all the miscellaneous factors here, this one goes into the must keep category.

12/27/21 (new entry)

Candlemass - Epicus Doomicus Metallicus. 1986 Sweden

There are times when an album is released that no one could possibly anticipate its historical impact. And that most certainly is the case for Candlemass' debut. In 1986, thrash metal was dominating the underground, and bands were popping up everywhere to be the next Metallica. So what did this unknown band from Sweden do? Slowed it way down, and referenced early 70s Black Sabbath. At the same time they brought interesting lyrical themes and a grandiose approach to the compositions. A genre was born: Epic Doom Metal. It would be many years before anyone even recognized that it was happening. Candlemass had a strong run through the end of the 80s and petered out in the 90s like most metal bands from the decade prior. They floundered along through the early 2000's, only to be held in the highest esteem upon Messiah Marcolin's (brief) return in 2005. By that time Candlemass were the band everyone was chasing to be. When reviewing the music, it's not the heaviest production one can hear, and some ideas are stretched longer than they need to be. But its impact remains timeless, a powerful statement going into strong headwinds. That's the definition of true metal. My personal favorite among the 6 lengthy tracks is 'Under the Oak' which features a massive riff that Iommi would be proud of. Interesting to note that iconic vocalist Marcolin isn't on this debut, but rather a guest by the name of John Langquist. Many consider him Candlemass' best singer. Somewhat similar to Greg Munford and the Strawberry Alarm Clock.

Ownership: LP: 2010 Peaceville (UK); CD: 1992 Leviathan / Black Dragon (USA). The LP is a beautiful gatefold pressed on red vinyl, sounds terrific, and features insightful liner notes for each track inside the centerpiece. Also included is an inner sleeve with historical footnotes. The CD is basic, and I don't even recall how I ended up with it, but I didn't buy it new. It's an early pressing, which has some demand, but I think I'll keep it anyway. The first copy I owned was the original Leviathan LP (USA) purchased while still in college (1987). This was an excellent example of my "silted port" metal LP collection that sat dormant for 25+ years. It comes in a single sleeve that had a huge cut corner. It was one of the few I decided to let go of in recent times, to no regret. Especially now that I have this much superior reissue, that I bought at What's Left the first time I visited the store last year, right after they opened. A great way to start our relationship!

new entry

Strange Days - 9 Parts to the Wind. 1975 England

Strange Days comes from the last throes of UK progressive rock in 1975. Similar to other bands of its ilk, namely Druid, Kestrel, Time, and Fruupp - Strange Days went boldly forward with a combination of complex progressive rock, with a lucid dose of commercial material just in case a high powered record executive might tune in. They didn't, and off to the obscurity grave went Strange Days. But for deep divers of arcane progressive rock, don't miss this gem. The last two tracks in particular demonstrate that Strange Days were a group to be reckoned with, and include many complex progressions. Oddly, the lengthiest tune with the overtly proggy moniker 'The Journey' is mostly a tedious Broadway play styled production, and is the weakest link to an otherwise super album.

Ownership: LP: 1975 Retreat/EMI. Laminated single sleeve with lyric inner. Purchased online in 2016. I was sort of late to the party on this album. I'm not sure how I missed this album in my initial accumulation of LPs, but it just never came across my desk. The Japanese papersleeve CD, which arrived many years later, was my introduction to the album. The CD includes their one 45 as well, though it's not unique enough to hold onto, since it's truncated songs from the album proper.

8/9/15

Banco del Mutuo Soccorso - Garofano Rosso. 1976 Italy

The odd album out in the Banco del Mutuo Soccorso canon, though they were to repeat it again on Di Terra. That is, this is Banco without vocals! Francesco di Giacomo is such an integral part of the band, it doesn't seem possible to hear the music without him. And he's still a member, being credited here with "documentazione". The music (a soundtrack to an Italian TV series) is still patently Banco DMS, though they're changing with the times and adding more jazzy elements to their sound. The Nocenzi brothers continue to lead the band with their organs, pianos, and synthesizers ripping away. You'll hear some familiar themes from past albums as well. The music isn't as edgy or as epic as their earlier efforts, but taken on its own account, Garofano Rosso is a fine listen.

Ownership: LP: 1976 Manticore. Single textured sleeve. Recent purchase from a Baltimore record store while there on business. My first copy was the Orrizonte pressing going back to the late 80s. I sold it in the 90s while purging parts of the collection. Not long ago I obtained the Japanese CD. There are apparently two original pressings of this album. The more familiar would be the smooth cover, and this is confirmed by the Japanese mini-LP, which are usually meticulous about replicating first editions. However my cover is textured with an "orange peel" pattern. This version would appear to be more obscure. The CD doesn't really offer much more, so I'll let it go.

12/26/21 (new entry)

Scorpions - Tokyo Tapes. 1978 Germany

Tokyo Tapes represents the swan song for Uli Roth as a member of the Scorpions. He was always a square peg in a proverbial round hole anyway, but for my tastes, he was the most creative member of the band. He was also the final link to their psychedelic past. Not surprisingly, the majority of the material comes from their RCA years, most notably Taken By Force, Virgin Killer, and In Trance, with a nod to Fly to the Rainbow and one track from Lonesome Crow (the least representative unfortunately). The album opens with the unreleased 'All Night Long' which is in the now-patented straightforward hard rock sound that Klaus Meine and Rudolf Schenker had adopted by then. Then a couple of Virgin Killer run-throughs gets us to one of the highlights of Tokyo Tapes: 'Polar Nights'. As I've said many times before, live albums are pretty useless if you play the studio versions verbatim. This is the one place that Roth gets in some improvisation - especially the opening. One wishes for it to go another 10 more minutes, it's so awesome. And he really lets loose on the solos later on in the piece. The other Roth great moment is the stinging intro (see what I did there...) to 'Dark Lady'. Other highlights includes the psychedelic oriented 'Fly to the Rainbow' and 'We'll Burn the Sky", the B-sider 'Suspender Love', and the hard rocking 'Speedy's Coming'. All one can do is imagine how awesome this live set would have been if it included other Roth penned tunes like 'Drifting Sun', 'Hell Cat', and 'Sails of Charon', with the latter omission being almost criminal since it was on the preceding Taken By Force.  Honestly though, take Roth out of the mix, and this album becomes unnecessary. For their part, the Scorpions were ready for the next chapter, when they hired on guitarist Matthias Jabs to replace Roth, changed labels to Mercury, and muscled up for the oncoming heavy metal onslaught. Uli Roth went on to form the also excellent Electric Sun.

Ownership: LP: 1978 RCA (Japan). Gatefold. 2xLP. Acquired at the Denver Record Show (2021). I'd been on the lookout for the album in the wilds for the last 3 years, but no such luck. I sure never expected to get the original Japanese version! Not cheap, but below online market prices. The rose cover is much different than the US cover, and it features an embossed scorpion on the front. Also includes a 4 page insert with lyrics in English and liner notes in Japanese. 

I first got into the Scorpions in early 1980 with Lovedrive (while still in my freshman year of high school), and Tokyo Tapes was my next purchase. It was the commodity US pressing on RCA. I played it to death, oftentimes on my Dad's old Japanese stereo from the late 50s, that had a heavy tonearm and (probably) destroyed needle.

1980; 6//05; 11/5/11; 12/26/21 (new entry)

Scorpions - Animal Magnetism. 1980 Germany

I bought this album when it first came out. I was already an established Scorpions fan, having seen them live, and was most excited about their new album. It didn't disappoint. Nor did it enthrall. I wanted more from the Scorpions by this point (1980). But certainly I was pleased and held onto it for many years. Ultimately I tired of this kind of metal-lite, and when purging the LP collection in the mid 90s, I let this one go. About a decade later, nostalgia begins to creep in, and since I was buying new CDs for pennies on the dollar, let's throw this in the pile. Now I appreciate more the music on hand. And let's fast forward to a month ago, and I found a perfect mint LP copy (still in shrink) for all of $9. I didn't get punished for letting it go in this case - and it's in far better shape than my original would have been. 

Time for a serious listen. The Scorps really missed an opportunity here from an underground perspective. They were adored by hardcore metal fans, even though they really weren't such a beast. If they were going lay down the gauntlet, Animal Magnetism should have been that album. Established band with street cred, and a heavy sound, this was their time. But instead they had other ambitions, which did pay off for them in the end. But with a different crowd. You're not going to get too far into a discussion about 80s power ballads without mention of the Scorpions. And it's the primary reason why their albums go for $9 today, while Judas Priest and Iron Maiden go for much more. But Animal Magnetism doesn't really have power ballads either. Their one attempt 'Lady Starlight' doesn't suck, so you know they hadn't mastered it yet lol. Mostly this is dog and butterfly, with an emphasis on the dog. And that's why the album works. And the final two tracks give the album its quality reputation in the underground. Or I should say, allowed them to keep their reputation. 'The Zoo' and the title track are heavy dirges that just pulverize the listener. It was the opposite of the fast pace I was looking for at the time, but both have proved to transcend time, and provides a fascinating 11 minute close to an otherwise normal metal album. And besides, 'The Zoo' has the most talk box outside of Frampton Comes Alive... 

Ownership: LP: 198? Mercury. Single sleeve. Black label, so likely from 1985 or so. This version doesn't include the lyric inner. Purchased at a local brick and mortar store (2021). The LP will be around a long time - 42 years (and going) of nostalgia is hard to beat. The CD offers nothing extra, so it can go.

1980; 2005; 2015; 8/4/21; 12/26/21 (new entry)

Aera - Live. 1980 Germany

Aera's Live album, recorded in 5 different locations in 5 consecutive nights from November 22-26 (1979), starts off with a bang as Roman Bunka goes riffing mad on the guitar. Perhaps he wanted to strut his stuff after replacing original guitarist Muck Groh.  This is followed by two shorter experimental pieces in 'Yellow Moon' and the psychedelic 'Stoned Out'.  After this auspicious beginning, the band settles into its familiar funky jazz rock groove and closes side 1 in typical fashion. The second side starts with 'Sulheim Swinging' that makes one think of more funky fusion though it ultimately stretches out into a Krautrock styled jam with some fine guitar soloing from Bunka. Final track 'Scooter Future' is a long improvised version of an excellent Bunka composition that was later released on Embryo's Reise as 'Lost Scooters'. Very good extract of their live performances.

Ownership: LP: 1980 Erlkonig. Gatefold 2xLP. Fine layout with concert photos as the centerpiece. Recent acquisition from a Baltimore record store while there for business. My first copy was an online acquisition of the LP in 2004, but it wasn't in very good shape and it was replaced by the 2-on-1 CD that included Turkis. That one was also sold away about 3 years ago. I think I'll hold onto this one though, which is in beautiful shape.

2004 (OMD); 7/13/18 

Boomerang (Joel Dugrenot). 1982 France

Boomerang were formed by various members in an out of the Zeuhl camp, namely Zao and Magma. Despite the heritage, Boomerang is not a Zeuhl effort, but rather it fits solidly in the category of jazz rock. But this isn't melodies plus solos, but rather a fully composed work, which distinguishes it from others of its ilk. Though it's from the early 80s, the sound here is distinctly 70s in tone and approach. The X factor of the band is not necessarily Dugrenot, but rather violinist David Rose, whose playing here could only be categorized as gorgeous. Other highlights are Claude Olmos' electric guitar (featuring a more psych oriented tone) and the rhythm section including 3 handed (ha!) drummer Jean My Truong. The album is clearly labeled as a band collective named Boomerang (including spine), though Joel Dugrenot gets full credit for all the compositions and arrangements. His name is featured prominently on the label as well. Later reissues credit the album as a Joel Dugrenot solo effort.

Ownership: LP: 1982 Spalax. Single sleeve. Recent acquisition from a record store in Baltimore while there on business (2021). This replaces the CD on Mantra (acquired 2015), which offers nothing extra. I did not realize Spalax was a label during the LP era, always associating them with CD reissues. Odd, then, that they did not reissue this title on CD.

2015; 1/16/18; 12/24/21 (new entry)

Judas Priest - Rocka Rolla. 1974 England

Judas Priest's debut is an album that is usually dismissed by avid fans of the band. Primarily because of what it isn't. Rocka Rolla is no metal album, and there are few hints of their future here. But as far as dual guitar hard rock goes, Rocka Rolla is a major player in this game. Anyone who has listened to early 70s English hard rock (and you well should have since it still dominates rock radio to this day), will know the sound is heavily based in the blues. In that light, Judas Priest adds a bit more pace, and even some thoughtful introspective psychedelic numbers (The 'Winter' suite in particular, and the eight and a half minute 'Run of the Mill' might be the best track here). In this way, they are similar to Budgie's early albums. For myself, Rocka Rolla was purchased after already buying all of their albums up to that point, which included Unleashed in the East. The only exception was Sad Wings of Destiny, which is really not that far from Rocka Rolla in sound with perhaps a bit more prog thrown in. Oddly though, I wasn't disappointed at all. More like fascinated. I didn't really have a lot of examples of music like this in my collection to that point, and I heard Rocka Rolla as something unique. And "Bob" Halford (with long hair no less) is an exceptional vocalist, and he shows that off very early in his career. While I'll never likely coronate their debut and claim it's one of the best albums I've ever heard, I can honestly say that this listen represents me owning this album for 42 years straight, and I have yet to tire of it. If you're not a fan of heavy metal or what you would associate Judas Priest with, I would encourage you give this one a spin. As for metal fans, it's always best to go in with an historical perspective.

Ownership: LP: 1978 Import (USA). Single sleeve. Bought this at Peaches Records in Seattle in 1979! Really glad I never parted with this or replaced with a CD. Such memories I have. My parents and I were visiting my Aunt and Uncle for a couple of weeks, and he took me to the record store, where I bought 2 albums that day (the other was Rainbow's Down to Earth, which is long gone, but I've since picked that one back up). Took them back to their house and immediately plopped them on his stereo in the basement. I was 14. Remember it like it was yesterday. I'm marveling at the condition too. I did not care for my records like I would do only a few years later. No outer sleeve for the cover, played the vinyl on some iffy stylus'. And yet the vinyl is EX and the cover is like VG++. 42 year old record, been moved countless times around the country. Makes me wonder what other people do with their records that puts them in such bad condition. Interesting to note that it's not that expensive of a record (though I haven't seen it in the wilds for the last 3 years either). This version was pressed 4 years after the originals, which in turn are costly. According to Discogs, this was the first US pressing of the album.

CD: 200? Koch. A good one for the road (as the opener suggests), but offers little else. Keeping for now.

7//79 (first listen); 10//05; 12/23/21 (review / new entry)

Charles Earland - Leaving this Planet. 1974 USA-Pennsylvania

I knew this was the pick of the litter the minute I saw it. Double LP on Prestige with Joe Henderson and Freddie Hubbard in the sub marquee. And we're leaving this planet too! Look at that lineup - Eddie Henderson, Dave Hubbard, and the list goes on. Great instrumentation too, with plenty of modern analog synthesizers to boot. This is jazz funk of the highest order. I was familiar with Philadelphia native Charles Earland's name, but can't recall hearing any of his work prior. And it's his B-3 organ that takes the album to its greatest heights. Though from a composition perspective, I enjoyed Joe Henderson's one contribution 'No Me Esqueca (Don't Forget Me)' the best.

Ownership: LP: 1974 Prestige. Gatefold. 2xLP. Great presentation - has the look. Picked this one up with the other jazz related titles from a Denver area record store a few weeks ago, and this wraps up that particular find. How this ended in a $2 bin from a real record store is something of a mystery. I know more than a few stores that would have put this record on "the wall". Their laziness is my gain. Doesn't matter what it's worth, as I'm keeping it for many years ahead!

new entry

Ocean ~ USA ~ Cincinnati, Ohio

Sunrise (1982)

Ocean were like a lot of instrumental private jazz rock/fusion bands in America, putting together a high quality product to an audience of only a few. From Cincinnati, Ocean's primary solo instruments are the guitar and trumpet, with fine keyboard accompaniment. Excellent rhythm section as well. The 6 lengthy tracks allow the band to stretch, but not too much, keeping each composition in check and the soloists to a minimum. Special shout out goes to band leader Bruce Fox, who adds a deliciously psychedelic tone to his guitar. Certainly an anachronistic sound for 1982! File alongside other like-minded groups from America such as Genre, 3PM, Bellvista, and Gold. Easy recommendation here for private j/r/f fans.

Ownership: 1982 Ocean Sound Recordings (LP)

Not released on CD as of 3/29/25.

1/18/10 (review); 12/30/14; 12/22/21 (update / new entry)

Jean Michel Jarre - Equinoxe. 1978 France

Some of you may recall my discussion about "fastest" guitarist when I wrote about Al Di Meola's Elegant Gypsy 2+ years ago (well I'm sure you don't, but you can look it up on this blog...). In effect, it was about those tiresome music conversations we seemed compelled to do in college during the 80s. Well....same thing here with Jarre verse Tangerine Dream or Klaus Schulze (more the former as Schulze was still pretty obscure, at least where I went to school). And since I was a huge T Dream and Schulze nut, I wasn't having any of this Jarre nonsense! Silly me. So, believe it or not, I haven't heard this album (intently)... until last night. The problem with hearing Equinoxe in 2020 verse 1983 is that I've already absorbed hundreds of analog synthesizer albums. So it's a bit old hat at this point. But is that a fair evaluation? Not at all. I can see why I scoffed at Jarre being the superior artist 35 years ago, given the music here doesn't have the depth that you'd hear on Rubycon or Timewind - or even Tangram. But in his day, Jarre apparently ruled the stage and drew massive crowds. Equinoxe is not vapid crowd pleasing music, and is a strong electronic work, all things considered. So yes, definitely a keeper here.

Ownership: LP: 1979 Dreyfus. Single sleeve. Thrift shop pickup late last year. In fact, I had found the US copy and then shortly thereafter found this French version. From the same shop!

12/3/20