Fable - Get the "L" Outta Here. 1975 Canada-Ontario (archival)

Canada had a similar rich tradition of grassroots hard rock just as we did here in the States. Throughout the country, bands were sprouting like weeds and toiling in the local clubs, hoping to get noticed for the big time. Fable were but one of those outfits, a group who didn't manage to get anything out real time. The review for this one will be easy. Fable plays a type of psychedelic hard rock, where the ghost of Jimi Hendrix looms large. It's a favorite style of mine, and for the 3 sides of this album, every track is a winner. No slow ballads to endure, no lame tries for radio hits, no proggy epics, just kickin' out the jams brothers and sisters. Their peers are two of Canada's greatest treasures: Frank Marino and Mahogany Rush and Walter Rossi and Charlee. You dig those bands, then you'll want this. Easy recommendation.

Ownership: LP: 2005 RecordPlex. 2 LPs in a single sleeve (copy #103/500). 3 sides of music with one side blank. Recent online acquisition. From a documentary standpoint, not the best archival release I've ever seen, that for sure. There's an insert, but it lacks detail. And I've never been a big fan of stuffing 2 LPs into a single sleeve. That reeks of the cheapo 80s. Reminds me of Metallica's In Justice For All, the only LP by them I actually replaced with a CD (to no regrets). But what matters most is the music and the sound quality, and for this, it's well worth it. This is one of those albums where the LP proved easier to get than the CD. As long as this website stays up, you can read more about Fable.

2021 Funk / Soul Journal Vol. 2 - Complete

The below are all from a large estate sale find (Mar):

*Afrique - Soul Makossa. 1973 Mainstream (LP). As soon as I saw the title, I snapped it up as quickly as possible. Of course I was thinking of The Lafayette Afro Rock Band. But they covered the same song Afrique is here - from a one Manu Dibango, who also has an album with that name. I'm a sucker for wah wah guitar, and in particular when used in rhythm, and there's plenty of that going around here. About half the album has killer grooves and some mean soloing. And the other half is mostly sugar free and reminds me of the dancehall RnB numbers from a decade past. 13 member band with five of the team on drums and percussion, so it's groovy for sure. Plenty good on the whole, and worth holding onto. 

Curtis Mayfield - Curtis / Live! 1971 Buddha (Germany) (LP). This double album demonstrates that Mayfield could reinsert himself 50 years forward, and possess the most topical album of the moment. Seriously, the lyrical themes presented here are the headlines of today. For music fans, what you get is Mayfield in an intimate club setting. Stripped down to its core, it becomes clear this is Mayfield's show from beginning to end. There's a little bit of instrumental virtuosity allowed, but not enough to fully engage at that level. While I can appreciate this album objectively, it's yet another work that doesn't inspire me for multiple listens. I can let this one go. Comes in a nice gatefold cover with lyrics and photos inside the fold out.

Marvin Gaye - Trouble Man. 1971 Tamla Motown (Germany) (LP). I first sampled That's the Way Love Is (1969) and it pretty much sounded as I expected - pure soul. It went straight to the record show box, no need for a deep dive. But Trouble Man caught my ear, and a few weeks later, I'm digging in. Well it certainly starts off with a fine groove, and there are plenty of fine songwriting elements here. Even though it's fully a Marvin Gaye effort, he rarely sings. It's truly a soundtrack, and as such, most of the music is orchestrated incidental music to go with the film. Not bad on the whole, but not enough funk cuts for me to keep.

*Earth, Wind & Fire - Head to the Sky. 1973 CBS (Netherlands) (LP). Last of the EWF's from the soul-jazz collection. Side 1 is consistent with what was to follow - that of melodic funk and sweet soul. I like this better than Spirit for this style. But the money side is the flip. Here Earth, Wind & Fire show their considerable instrumental chops in addition to the funk. 13 minute 'Zanzibar' being an obvious highlight. This is what I've been looking for from the band. Nice gatefold cover as well.

*The J.B.'s - Doing it to Death. 1973 Polydor (Germany) (LP). Now this is the definition of raw funk. Lay down the beat, and let it ride. Tight as a drum. Except of course for James Brown himself who rants and raves wildly - and jams aimlessly on the organ. But the rest of the band dare not step out of line - or face a big fat fine (sing that last sentence as Brown would). I can never get out of my mind Eddie Murphy's 1980s comedy skit about James Brown's lyrics. Yet another individual worth reading about in Wikipedia while listening. I learned quite a bit about the man. An anomaly from the soul-jazz collection. Nothing sweet about this album. Keeper.

*Sergio Mendes & Brasil '77 - Primal Roots. 1972 A&M (Germany) (LP). This album is a huge departure from anything I've ever heard Mendes perform. Gone are the soft pop songs, and its place is a serious fusion of Brazilian folk styles. Considering that all of Side 2 is made up of one track called 'The Circle Game', you know we're thousands of miles away from Ipanema. The minute I heard the incredibly breezy 'After Sunrise' with its female la-la-la's I was triggered by a long time memory. I can remember looking for this song at some point in my life, and could never find it. It comes from something I saw on television or video, but I cannot remember what it was. I have a guess, but I'll keep that to myself for now. And the side long track is brilliant, filled to the brim with great ideas, and never lags. It's not fair to compare Primal Roots to his other work, because it's just a different animal all together. This album puts the previously reviewed Love Music into perspective. That album followed this, and is a reaction to it most likely. One serious, one complete fluff. Easy recommendation to Mendes fans, and even progressive rock and fusion collectors.

*Quincy Jones - Smackwater Jack. 1976 A&M (Germany) (LP). At the point of this release (1971), Quincy Jones was still a much sought after soundtrack composer. This is one of his transition albums moving towards more solo works. Having said that, Smackwater Jack features one of Jones' more memorable themes in 'Ironside' with the really cool Moog synthesizer and some fine flute. The other soundtrack piece is from 'The Anderson Tapes' (great movie BTW, starring Sean Connery in his prime), which is also great featuring electronics, which was pioneering in its day. The album has a nice sweet groove overall, including 'Cast Your Fate to the Wind', 'What's Going On?', and 'Hikky-Burr'. The final track is interesting as it seems to be a dissertation on blues guitar, including one fiery psychedelic rave-up (from Eric Gale), something you wouldn't think would come from a Quincy Jones composition. There's a cast of thousands performing here, and you know many of them. Nice album overall, with the fine gatefold cover being icing on the cake.

*Osibisa - Super Fly T.N.T. 1973 Buddha (LP). Perhaps this will be the album to keep Mayfield's Superfly company. One of the kingpins of the blaxploitation genre, I've never seen the flick myself, but I can pretty much guess how it goes. Osibisa is a band I remember from my early collecting days - who could miss those flying elephant Roger Dean covers? But I never pursued as funk wasn't my thing back in the 80s. Now I never see them - of course. Well in the wilds I should say - they're hardly rare or expensive. In any case, this soundtrack is mostly great, exactly what you would want from a film such as this. Plenty of flute, wah wah, organ, and brass. And it's very much like a fully realized album, not incidental music like Shaft for example. Neat gatefold cover. I look forward to finding those early Osibisa albums again. This collection didn't have any more, unless my competition pulled them down first.

Donny Hathaway - Extension of a Man. 1973 ATCO Quadra Disc (LP). This would be Hathaway's last studio solo album. He was a very troubled man, and suffered from mental illness which lead to his early death at age 33 of a suicide. This album is considered one of his best, as it balances his soul and funk sides evenly. To my ears, this is similar to the Mayfield album below. Definitely geared to the soul crowd, and the funk is pretty lightweight. Lots of strings and crooning. Fair enough, that's what the genre calls for. But it isn't for me.

*Ohio Players - Pleasure. 1972 Bellaphon (Germany) (LP). This is my last try for the Ohio Players. Oh yea - boom, this is what I'm looking for. Well, Side 1 is anyway. The title track is a mix of soul-funk and horn rock, the latter played to perfection. 'Pride and Vanity' is similar, and 'Walt's First Trip' is a killer instrumental. Fantastic start! If only the flip held serve. 'Varee is Love' is pure soul and 'Paint Me' is the kind of funk that the band would pursue later on. 'Funky Worm' is a hip-hop samplers classic, but I think it's just silly honestly. But not all is a loss. 'Walked Away From You' recalls the first side and 'Our Love Has Died' is a very interesting psychedelic soul piece. It's not really a combo of each style but rather each are featured within the song separately. Definitely shows the band could be serious if they wanted to be. For certain keeper here, and will push me to continue looking for their remaining albums during this era (pre 1976).

The O'Jays - Survival. 1975 Philadelphia International (LP). Put The O'Jays in the same category as Earth Wind & Fire, that is to say groups I'm actively seeking in the wilds. And yet another band that when I do find a copy, it's whipped. But this collection was pristine as already mentioned. Survival, which is a little later than the classics the O'Jays are known for, is very much indicative of this particular collection. A mix of smooth soul and biting funk. 'Rich Get Richer' is your hardcore liberal mantra, wrapped around a pretty great tune. 'What am I Waiting For' is another winner. Like the Mayfield album I just spoke of, I find this a pleasant listen, but in the end not something I need to keep. 

Sergio Mendes & Brasil '77 - Love Music. 1973 Bell (Germany) (LP). Speaking of ill-advised covers. And, in this case, I don't necessarily mean exclusively the physical package. I finally found the Mendes album that's not for me. No Bossa Nova here, not even original songs. All English language pop covers - some more known than others. Ugh - this one is way too Vegas-stagey for my tastes. OK, this one goes. I definitely preferred the follow-up Vintage '74 to this.

Ohio Players - Skin Tight. 1974 Mercury (France) (LP). In that same Catholic charity sale last year that yielded Fatback Band's Raisin' Hell, it also produced a couple of Ohio Players albums, including their heralded Fire. They didn't do much for me, but I figured I'd go earlier in the catalog to see if I can find any better. Hmmm... a little bit I guess. The Ohio Players have a penchant to lay down a mean groove, but then they don't really do much with it. On Skin Tight, there are 3 heavy funk tracks, and 3 smooth soul songs. Not really my thing, but it's good for sure. I have one more, even earlier, album to still digest. Interesting "sexist" gatefold cover that would get you cancelled today. The 1970s are starting to seem like the 1800s. A faded, distant past.

*Deodato - First Cuckoo. 1975 MCA (LP) Yea, like with Mendes, I'm finding it hard to lay off Deodato's albums. Interestingly enough, I picked up Prelude from the same neighbor as Superfly. There's some synchronicity for you. First Cuckoo is the "4th" Deodato album, if one starts with the aforementioned Prelude (sort of like B.C. and A.D...). 'Funk Yourself' (hoho) is fairly typical of the era. Fine jazz funk if hardly revelatory. 'Black Dog' is an embarrassment. Who the heck thought it was a great idea to cover Led Zeppelin? As a jazz funk instrumental? It's terrible (first cuckoo indeed). And they have Jimmy Page as Gene Paige. To the best of my knowledge, he never went by that name. How coked up were these guys anyway? At this point, I figured I went too far with Deodato. But have no fear, it gets much better from here. Ah there we go, Deodato's original 'Crabwalk' is what I'm looking for. Some slow headbobbing grooves. Very nice. This is followed by a unique composition from Deodato's peer Marcos Valle called 'Adam's Hotel' (they worked together in early 60's Brazil). Beautiful track. Side 2 opens with a percussion number followed by one more Deodato composition entitled 'Watusi Strut', which recalls naturally enough, 'Super Strut'. This is the only place (unfortunately) where guitarist John Tropea lets loose. Still it's one more great track in his repertoire. 'Speak Low' is another nice late night groover recalling 'Crabwalk'. The album closes on a serious classical note with Frederick Delius' 'First Cuckoo', which is way out of place. Seems Deodato is screaming for respect here. Give it up man. Fascinating cover - note the naked woman with the baby carriage... One more keeper, but lesser than the other two I have.

Curtis Mayfield - Got to Find a Way. 1974 Curtom (L). The only Mayfield solo album I have heard (and own) is Superfly, which some of you may recall I pulled out of a very conservative Christian neighbor's house in Texas ("Jim was going through a phase..." lol). Remember when I said this collection veered more toward soul funk than jazz funk? This album underscores that perfectly. It has Mayfield's signature sound, with wah wah guitars and strings, and he sings in his higher pitched plea that we all "gotta-find-a-way" and "ain't no love lost neither". There's not much deviation here, and it all kind of blurs together after a while. It's a good sound, but not anything that I need to hold onto. There's an earlier Mayfield album I picked up as well, so we'll see then if it sticks around to keep Superfly company.

*War - Deliver the Word. 1973 United Artists (LP). After hearing the instrumental opener 'H2 Overture' I thought I was in for a monster of a session. 'In Your Eyes' is a strong follow-up, and this is exactly what I look for in a Latin-tinged funk soul album. Things begin to slip on 'Gypsy Man' which is a fine composition, but there's not enough here to justify its 11+ minute length. 'Me and Baby Brother' is what I would consider the signature sound of War, which isn't necessarily what I like about them most. 'Southern Part of Texas' recalls 'Gypsy Man' to an extent. The title track is the highlight of Side 2 and is a sweet song. 'Blister' is an atmospheric closer. Deliver the Word doesn't live up to the promise of its beginning, but it's definitely a keeper. Comes in a nice die-cut textured cover. 

Earth Wind & Fire - Spirit. 1976 Columbia (LP). This is the album released after That's the Way of the World. OK, this isn't for me either. Way too much gospely whining for my tastes. The familiar 'Getaway' is probably the best composition, and I also enjoyed 'Imagination'. Personally speaking (of course...), the best track here is the instrumental 'Biyo'. And that's about it. 

Earth Wind & Fire - Powerlight. 1983 Columbia (LP). This was probably the most marginal LP I bought (perfect place to start then), but as stated on the That's the Way of the World blurb, I'm anxious to hear all of the EWF's. But where to stop? Instincts told me this would be way too late. I don't recall liking any contemporary Earth Wind & Fire while still in high school, just their 70s stuff. And my instincts proved to be correct, though this was hardly a painful listen. Enjoyable in fact, but not enough room in the collection for it. It definitely falls to the disco side, and there's plenty of soul crooning as well. But the horn charts are killer, the synth playing is fantastic, and there's some excellent electric guitar soloing as well. For 1983 soul/disco, it's pretty darn good. But not really something I'll pull down for a listen.

* - Keeping for the collection

Double Fantasy - Universal Ave. 1986 Germany

A few years ago I made the decision to pick up anything I see on Klaus Schulze's Innovative Communications label, as long as it is at a reasonable price. I was challenged this week, as lo and behold, one of our local b&m's had this one in their regular bins (more about that in the ownership section). In the 1980s and early 90s, these IC albums were surprisingly common here in the States (at import retail prices mind you, despite the domestic pressing). But why did I not buy them back then? Well that's what I meant by "challenged". The back cover seems to imply this will be a new wave album, verse the progressive electronic one would expect. Let's see... you have two guys with short cropped and colored poofy hair. Wearing lipstick. One with sunglasses. Honestly, they look like Tears For Fears or any number of bands like that. Well... I've come to like that style too, so I have nothing to lose, and the resell value fits my model. Let's buy it.

Double Fantasy is made up of Charly McLion and Dreamstar. OK, who the heck is that? Dreamstar is a not-well-hidden nom de plume of a one Robert Schroeder, he of what seems like 100+ electronic albums. I've not heard a one of them. Charly McLion is the stage name for Charly Büchel. Now who is that? Well, this one's interesting. He was the Charles in Charles and Morgan, an album I covered back in the CDRWL days. Bloody awful at that. OK, throw all of the above in the blender, pour, and then hold your nose while tasting. Universal Ave is....

Awesome. Que? Schroeder is clearly a protégé of Klaus Schulze, and his electronics here are very much of his school of thought in the mid 80s. McLion goes about adding some very Manuel Gottsching-esque electric guitar on top. In effect what we hear is a slightly updated Ashra from their power trio years. Take away Grosskopf's real drums, and replace them with synthesizers, and that's pretty much what you have here. As you all know (or might know), I'm a huge fan of Correlations and Belle Alliance. And Universal Ave. fits that profile perfectly. All 6 tracks here satisfy greatly, but special mention goes to the side 1 closer 'Endless Running', which really captured my imagination. If I can keep finding albums like this on the cheap, I'm buying...

Ownership: LP: 1986 Innovative Communications (USA). Single sleeve. As noted above, a recent acquisition from a local b&m. According to the sticker, it's been sitting there since Dec 2019. How did I miss it? Well, they just moved locations and that caused them to jumble up their inventory, so it was brought to the front. Like any store such as this, I haven't thumbed through every single record, so it got away the first time. Glad no one else saw it either...

3/28/21 (new entry)

Epitaph - Return to Reality. 1979 Germany

Epitaph faces the same problems of many progressive bands from the early 70s - they change. Their 1971 debut is a superb slice of Krautrock followed by a couple of fine hard prog albums. They disappear for about 5 years, and reemerge with a fetching cover and some lengthy tracks. A new prog album obviously? Ehh... No.

When I first started deep diving into the bins in the mid 80s, this album showed up. I couldn't get rid of it fast enough. Some 35+ years later, and here we are again with the LP in hand. I already know it's not a prog album. Let's hear it with a different perspective, which is what I should have done back then too. Youth.

OK, yes, I like this album. Very strong hard rock entry, and the extended tracks allow Epitaph some room to maneuver with more ideas. They're a 5 piece with excellent keyboard work and dual guitars. It's not a strikingly great album, but very professional. And much better than some of the pandering hard rock bands in the US and UK during the time. This isn't a commercial album at all, even if it has some friendly hooks. The best way to approach albums like this is to strip away their legacy and the Brain label, and pretend you just found a private pressing from Nebraska by a band called Epitaph. Believe me, it makes a difference. One's mind drifts to a different landscape, and the music fits that narrative. SFF this is not. Quality hard rock is the game here. Keeper.

Ownership: LP: 1979 Brain. Single sleeve. Orange label. Recent acquisition from an antique mall. I generally avoid antique malls, as the records are almost always multi-X higher priced than retail and usually in crap condition. And that's mostly the case at this antique mall as well. But this particular dealer has quality merchandise at competitive prices (i.e. a bit lower than local b&m's). I picked up a couple of other commodity items as well. I'll be back to this table again. Oh - a word about the cover. It's what we today call "cheesecake". And she's a pretty model. Just don't look too close under the arms...

Horsefeathers - Symphony for a Million Mice. USA-California (semi-archival)

This discovery from San Diego came about while I was researching a 45 that the band had released in 1975. In doing so, I had found far more music on YouTube, which all comes from this release. Once again, we have a band here in the US that toiled in the clubs and venues of the day, but are nothing but a distant memory for a faint few. For the most part this is progressive rock with a capital P, and follows the familiar path of Genesis, Yes, and Gentle Giant. The latter seemingly the primary influence here. They self-describe that they bring a large dose of humor as well. And for modern ears, that leads us to think of Canterbury, though the music lacks the jazzy insouciant melodies the genre calls for. 

The choice cuts are the longer ones naturally enough, and the two openers and closers provide plenty of great music, with complex compositions and rich instrumentation, in particular the synthesizer work. The strong beginning and ending approach is a winning formula as it grabs your attention up front and leaves you with a positive impression afterward. The 5 shorter middle tracks are hit and miss with 'Holes in Shangr-La' (sic), 'Odds (or Even Odder)', and 'Another Winter' coming in strong. 'Big Top Rock' and 'Midnight Grin' are rather silly, and are best avoided unless you're in the mood for cartoons.

Overall a fantastic new entry for the long buried American 1970s progressive rock library.

Ownership: CD-R: 2020 private. digi-file cover. You won't find this one in Discogs, ebay, or Amazon. Or RYM for that matter. You can buy it direct from the band, and you'll get a signed copy. They advertise it as a CD, but I had a feeling it would be a cd-r and my instincts proved correct. Even if I had asked them, they probably wouldn't have known the difference (per many experiences prior). It's not that expensive in any case. The other issue here is the date. You'll note I call it "semi-archival". The base music comes from demos from the 1970s (none are dated specifically, though we know the 45 of 'Midnight Grin' and 'Holes in Shangr-La' is from 1975). At some point in the near past (likely the 2010's), the group added instrumentation and vocals. It's hard to know what they've done, if much. It certainly sounds like it's from the 70s, and it's an excellent production overall. So one has to date it 2020, even though it's really a 70s release. You can order the CD-R, hear all the music, and read about the band here.

After the Fire - Signs of Change. 1978 England

I never believed them. Never believed who? The catalog dealers 25-30 years ago. They were the first to proclaim that After the Fire's debut album was progressive rock. In those days, sellers seemed desperate to make everything either psychedelic or progressive, when oftentimes they were neither. Not even close. So the group who put out 'Der Kommissar' were really a prog outfit? The track that pretty much defines the early 80s MTV sound? Oh stop.

They were a prog band. It's true. In fact, after hearing Signs of Change, I have no idea how they got from here to there. There seems to be no path forward - no "signs of change". On this debut, the only music that After the Fire was predicting was the rise of neo prog. Signs of Change is very much patterned after Hackett-era Genesis. It's not at that level, but the attempt is similar to some of the Continental European bands operating in this space during the same time, such as Saga (Netherlands), Neuschwanstein, and Ivory. Long tracks, complex compositions, full bodied instrumentation. Organ is the dominant instrument. What says the 80s like the Hammond organ, eh? About the only track that even hints After the Fire might be forward looking is 'Back to the Light'. If you stretch your ears behind your head, maybe. Easy recommendation for traditional progressive rock fans. And that's about it.

Ownership: CD: 2011 Angel Air. Recent online acquisition. Jewel case with detailed liner notes covering the history of the band up to this album. Also features 4 lengthy - and very good - bonus tracks. 3 are unique. Overall a superb presentation.

Moose Loose - Elgen Er Løs. 1974 Norway

And while on the topic of jazz rock/funk, good timing for this new arrival. Elgen Er Løs is an old CDRWL entry. Here were my scratch off notes from back then: Moose Loose's debut Elgen Er Løs is a powerful fusion album, that mixes in funky clavinet lines with some ferocious electric guitar leads, playing in an almost psychedelic style. Latter half of the album drifts towards more standard jazz / jazz-rock before closing with an acoustic guitar, piano piece.

Probably sold it a bit short there. Though it does describe quite well the first track 'Ebers Funk', with its wicked fuzz and clavinet runs. The next song 'E.M.' features some killer Hammond organ in addition to the guitar. The album does move from its funky beginning to a more typical early 70s jazz rock, but not really traditional jazz. These four lengthy tracks will satisfy most fans of raw jazz rock. The final fifth track is consistent with the American jazz albums from this era, and provides a relaxing way to close out.

Ownership: CD: 2021 Norske Albumklassikere. Recent online acquisition that replaces the cd-r used for the original notes. Comes in a thin digi-file sleeve with liner notes in Norwegian. Superb sound from the master tapes (if I'm understanding the Norwegian correctly). This is the first reissue of Elgen Er Løs. 

And we can also expect Moose Loose's second and final album Transition to come out soon. Norske Albumklassikere is a non-specific genre label that is crowd funded, and they're beginning to focus on the remaining prog albums from Norway that have yet to be reissued. Look for Octopus' Thaerie Wiighen soon as well.

8/17/10 (CDRWL) 

2021 Fusion / Jazz Journal Vol. 1 - Complete

The following came from another estate sale just a couple of weeks after the below, detailed primarily in the Funk / Soul journals (Mar):

Eddie Harris - Is It In. 1974 Atlantic (LP). I've run into this album a few times now between thrift shops and garage sales, but always took a pass. I thought it might be one of those silly funk albums ("Is it in?" hoho), and the resell value is pretty much nil. Ah what the heck - maybe it's a great jazz funk album after all. Ummm... no. But it's not what I thought either. In fact, it's kind of a weird album. Those opening electric sax notes from Harris reminded me of Tim Belbe's work with Xhol Caravan - maybe this is something? Unfortunately 'Funkaroma' lives up to its goofy name. In this album you'll hear jazz funk, straight jazz, experimental bits, and everything in between. And that can usually make for a great album in my world. But nothing really clicks here. There were no "let me hear that again" tracks. I've heard enough to keep exploring Harris, but I'm not holding onto this. 

*Sergio Mendes & Brasil '66 - Crystal Illusions. 1969 A&M (Germany) (LP). The opener is inauspicious, and it reminded me of some of the duff tracks from Fool on the Hill. Things get on track with the Portuguese sung 'Viola'. After which, Crystal Illusions finds its groove, 'Song of No Regrets' reminds me of Burt Bacharach's 'Alfie' and is very solemn and moving. 'Salt Sea' is a stunner, the kind of song that turns me into a ball of mush. What a beautiful track. Not to be outdone, the closer of the side is 'Empty Faces', which adds some Bossa Nova to the same formula. Just breathtaking really. 'Pretty World' opens side 2 magnificently and is the kind of composition one would think only Bacharach, Hal David, and Dionne Warwick could have come up with. 'Dois Dias' is the other Portuguese track, and is oddly like 'Viola' in that it's not one of the highlights. 'You Stepped Out of a Dream' is way too saccharine, and one gets diabetes just listening to it. Then comes the closer, something entirely new for Mendes (I think). At close to 8 minutes, will it be prog? Haha, well no. It's the second half of the track that gets really interesting. There's an electric piano jam that recalls late-era Doors (a jam on a Mendes album? Who knew?), followed by some disorienting strings that is very psychedelic. Overall, a superb effort and a nice thick German copy too. This is my second favorite to date with only Brasil '65 topping it. Let's see if either get bettered. 

---end of sale

The following all came from a great score of jazz funk LPs at an estate sale (Mar).

*Billy Cobham - Crosswinds. 1974 Atlantic (LP). Crosswinds is a strong jazz rock/fusion effort, at times recalling his work with Mahavishnu Orchestra. John Abercrombie is a force here, doing his best to rival McLaughlin. Fine horns from the Brecker Brothers and Garnett Brown on trombone. Mixes in some mellow moments to give the listener a breather. A tad generic for the style, but still on the plus side of the genre.

*Harold Alexander - Raw Root. 1974 Atlantic (LP). Of all the albums in the batch, this is the one that I was most curious about. An intriguing cover with the promise of a deep groove flute driven music. I have to admit I wasn't sold after Side 1. It starts off auspiciously enough with a funky bass on 'Down Home', and there's some fine moments on 'De Black Magician' and its postlude 'Lady Euphoria'. But the money side is the flip. 'Street Life' is freakout flute city and some fine guitar from Junior Hanson (yes, the same dude who released two Hendrix-y albums in the 70s on Manticore). This style continues throughout the side, pushing this one into ownership category.

*Joe Farrell - Canned Funk. 1975 CTI (LP). This album goes hand in hand with Upon This Rock. Everything from the album layout, song lengths, instrumentation, and musical focus. Side 1 is a bit off the pace, though once again guitarist Joe Beck is keeping it far above water. But Side 2 is the best of the "4 sides" if I can compare. 'Suite Martinique' is brilliant, moving towards progressive rock, given its relative complexity. Superb flute and sax from Farrell, and Beck is on fire here. Great rhythm section throughout. These Farrell albums are proving to be a revelation for me. As noted, comes in yet another fantastic thick gatefold cover, pointing to an earlier era of product.

*Joe Farrell - Upon This Rock. 1974 CTI (LP). Like with Donald Byrd and Joe Henderson, I don't know much about Farrell either. I was convinced to buy his Moon Germs album, which I dutifully picked up on CD many years ago. I did like it, but it wasn't revelatory, and since I could get good coin for the CD, I sold it. I probably need to revisit again now that my ears are more adjusted, and certainly would buy the LP in any case (and I did just that not much afterward). And even more so now since I've heard this follow-up album. Guitarist Joe Beck lights it up everywhere. I like everything he's on, so that should be another focus area for me. Opener 'Weathervane' can get pretty complex, and recalls Mahavishnu Orchestra at times. 'I Won't be Back' is also great with Beck's guitar and some fine flute playing from Farrell. The title track starts awesome with Beck seemingly ready to go into Manuel Gottsching mode, but unfortunately pulls back. I was hoping for a Gary Saracho moment here. My only "complaint" (ha!) is I'm not overly fond of Farrell's sax work here. He's not screechy or noisy, so that's good, but he does tend to "honk" which can be annoying, to my ears anyway. A small matter really, as this album is excellent overall. Like many CTI albums, this comes in a fine thick gatefold cover.

*Deodato 2. 1973 CTI (LP). Last year I picked up the promo 45 of 'Super Strut' at an estate sale, and was subsequently blown away. This has an even longer version of the cut. For all the rarities we constantly dig up, sometimes the best underground sounds can be found on a platinum seller. Guitarist John Tropea is absolutely on fire here. It's like the first Chicago Transit Authority and Isaac Hayes' Shaft, in that these mainstream albums have more freakouts per minute than is expected. I've enjoyed the more even popular Prelude for some years now, but Deodato 2 is actually better in my estimation. It's a misnomer by the way. Eumir Deodato's album output goes back to the mid 60s Bossa Nova scene while still living in Brazil. But most folks only know him for his association with a one Creed Taylor. My only wish is that Deodato would compose his own songs. 'Super Strut' is one. The other is the fantastic 'Skyscrapers' which also features Tropea going wild. Then we get the cover tunes. My problem with Deodato's covers is they are too familiar. He would be better served rearranging more obscure cuts. But no one can claim Deodato for not coming up with inventive arrangements. 'Nights in White Satin' also has a killer guitar mid-section that you would never have a chance to hear from the Moodies. Gershwin's 'Rhapsody in Blue' - which I always associate with United Airlines - is also much juiced up. The other track is a classical cover of a Ravel composition - is very stately - and somewhat out of place. Speaking of large ensembles, a cast of thousands played on this album. Comes in a nice gatefold. If you never thought to buy this - do so - it costs less than a hamburger, and I promise it will last longer...

*Donald Byrd - Stepping into Tomorrow. 1975 Blue Note (LP). And not surprisingly, this was next to Street Lady. As the first notes play, it's apparent the groove will remain the same. But it's even more slick, and adds female vocals to give it a more commercial feel. Gone is Roger Glenn and his flute, and his playing would have been perfect here. For this album, the best track IMO is towards the end, and that would be 'You are the World'. Overall not at the level of Street Lady, but a keeper all the same.

*Donald Byrd - Street Lady. 1973 Blue Note (LP). The first two tracks are about perfect for funky jazz. What a groove. Wonderful analog synthesizer, guitar, and of course Byrd's trumpet. Best of all is Roger Glenn's flute. He's killing it here. I love these large ensembles, and this one counts to 10. All six songs are great, but the first two and 'Witch Hunt' take the prize. Most of you guys probably know this one already, but new to me. Comes in a fine gatefold with a factory audiophile sleeve no less.

---end estate sale (Mar)

*Joe Henderson - Black is the Color. 1972 Milestone (LP). With the Lateef's (Jan). The opener 'Terra Firma' gets things going in a positive way with a deep funk track, and a killer groove. Very Miles Davis like, substituting the trumpet for Henderson's sax. Special mention goes to David Horowitz's synthesizer, which interestingly recalls the Love Cry Want album. 'Vis-a-Vis' is the requisite hard bop number. Side B opens with an intense hypnotic groove. But alas 'Foregone Conclusion' is only five minutes long, and should have gone on for another 15. The title track provides the noirish soft piece. The closer deviates from the formula, as 'Current Events' is an experimental composition. Fine in theory, but it's pretty noisy to be honest.

Yusef Lateef - 10 Years Hence. 1975 Atlantic (LP). With the other Lateef (Jan). More Lateef, which I'm looking forward to. This title is a bit too standards/trad for me. More in sound than actual tuneage. Most of these are originals, with some stretched out pieces from his late 1950s past. The opener is the most interesting for me, with its trance like flute passages. A fine jazz album, but I can't keep them all. 

Yusef Lateef - Blues for the Orient. 1974 Fantasy (2xLP). Thrift shop find (Jan). This double LP set is a compilation and remaster of 2 albums: Eastern Sounds (1961) and The Sounds of Yusef from the Yusef Lateef Quintet (1957). It's an odd pairing as they don't really have a similar sound. As you may recall, Lateef is new to me, having found his 1969 Detroit album in RT's collection. Eastern Sounds has a cool mellow vibe. The Sounds of Yusef is very early in Lateef's career as a band leader. It is - as you might imagine - more trad jazz. There's some interesting avant garde ideas here, but for the most part the music moves away from where my interest in jazz lies. Of course it's very good for what it is, so don't pass up a chance to hear it if standard 50s jazz pushes your buttons. 

Jeff Beck - There & Back. 1980 Epic (LP). Thrift shop find (Jan). I always thought it was There & Beck lol. This was Beck's first new album since I started listening to FM radio in 1977. I remember liking some it, but never enough to buy a new copy. Much more glossy (80's of course) than his previous output, but nonetheless of similar consistency. Hammer and others bring the latest in keyboard technology while Beck does what Beck does - solid guitar soloing and melody lines. 

* - Keeping for the collection

Judas Priest - British Steel. 1980 England

As a primer, if you read my thoughts about Def Leppard that I recently penned, then you'll know British Steel came about right at the same time. Still a freshman in high school, and winding down the year. The difference here is that I already knew about Judas Priest. One year prior, Hell Bent For Leather was the new album, and after hearing a couple of choice cuts from that, I ran out to buy the album. And I became a dedicated fan pretty much on the spot. I went about filling in their back catalog including Rocka Rolla. Then came Unleashed in the East, an album so important to my ever increasing music knowledge, it became part of my DNA. There are few albums in my collection - if any - that I've played more than this album. I'll tell these stories as I revisit them. So by the time British Steel came out, I owned 5 of the 6 Judas Priest albums (Sad Wings of Destiny was scored in the summer). Whatever the case, my anticipation was through the roof for this new album. The result? Yea, OK, it's good for sure. But I wanted more. Way more. Though it opens auspiciously enough with 'Rapid Fire', which features a killer mid section, the kind of breaks all the best metal bands were to follow for the rest of time. And the album closes as it starts, with the rampaging 'Steeler'. That's the kind of metal I wanted from Priest back then. What about the rest? Well certainly 'Metal Gods' and 'Grinder' are heavy duty slow metal pieces, that satisfy at that level. 'The Rage' is kind of the oddball track, recalling their earlier, often quirky efforts, like on Sin After Sin. Over time, it's become one of my favorites from the album. 'You Don't Have to Be Old to Be Wise' is decent, though Priest was starting to show their tendency to dumb things down. 'United' is one of their "football styled hymns". Very annoying. Must be an English thing. And that leaves us with their two big hits from the album, which arguably took heavy metal to its next level in terms of popularity. 'Breaking the Law' was the perfect track at the time, even if it wasn't so much to my taste. Short, punchy, good breaks and solos. It's bonehead for sure, but good bonehead. For my tastes 'Living After Midnight' is the second worst song after 'United'. And unfortunately it was the track that propelled Priest to its highest ratings. So it's no surprise that they were starting to become a confused group. All this lead to their next disastrous album Point of Entry, one of the greatest disappointments in my music listening career. They got back on the rails quickly with Screaming for Vengeance, but that's a tale for another day. 

Ownership: CD: 2010 Columbia. 30th Anniversary Edition. Thrift shop purchase (2021). The package is wonderful, and comes with new liner notes, two bonus tracks, and a full DVD that includes a 2009 concert + a 30 minute interview. I haven't seen it yet, but will eventually. As for the bonus tracks, they can be skipped. 'Red, White & Blue' is similar to 'United' and the live track of 'Grinder' doesn't add anything to the original. Overall, British Steel's rating has gone up for me. But it's mostly nostalgia honestly. This CD replaces the 2001 Legacy CD version which replaced my worn out 1980 vinyl. I'll eventually get the LP again, as a supplement.

LP: 1980 Columbia. Single sleeve. Acquired from JL (2023) fulfilling the prophesy above. The CD remains the primary in this case. 

1980; 3/22/21 (new entry)

2021 Funk / Soul Journal Vol. 1 - Complete

45's from the RT collection (Mar):

Brenton Wood - A Change is Gonna Come / Where Were You. 1969 Double Shot (SP). A couple of years ago I picked an earlier Brenton Wood 45 out of a large sale. I kept that one. This one is too commercially oriented for my tastes. A) side is pure soul while the b) side is towards r'n'b. 

Mother Earth - Mother Earth / I Did My Part. 1968 Mercury promo (SP). Another band that I'm entirely unfamiliar with, but probably have run across their albums at some point. This is from their debut album. The b) side is my idea of what commercial soul funk sounds like, though still pretty far from my personal interest area. The namesake track is hardcore blues, too much so for my liking. 

Lenny Welch ‎- You Can't Run Away / Halfway To Your Arms. 1968 Mercury promo (SP). Kind of a lounge pop thing similar to Tom Jones and Paul Anka. I wonder if Welch had a hairy chest too? He's African-American, so he naturally gets lumped in with the soul crowd, but that's not really what this is. I actually kind of like music such as this, brings back memories of my early childhood. But not enough to keep mind you.

---end RT

The Fatback Band - Night Fever. 1976 Spring/Polydor (LP). Same sale as below (Mar). Some of you may recall my post last year on Raising Hell, an album I picked up from a Catholic charity (lol). From that I wrote: "I've said it before, and will continue to say it, I don't intrinsically have an issue with disco music... Most disco tends to be soul music with a steady 4/4 beat and soaring strings. Not for me. But some disco comes out of funk, specifically hard rocking funk, with excellent tight horn charts and electric guitars. Now we're talking." I then proceeded to discuss why I enjoyed that particular album. You can read more about it there. Night Fever more or less abandoned all other styles to focus strictly on the dance floor. They still bring a large talented band, but much of it is lost in repetitiveness and 4/4 beats. The song titles give the game away. Along with the title track you have 'A Little Funky Dance', 'Disco Crazy', 'The Booty', and 'No More Room for Dancing'. It gets old after awhile. The one exception would be 'The Joint' which recalls Raising Hell's hard funk. Worth a couple of bucks to hear anyway, and it's not bad all things considered. And how about that white panties cover? The late 70s....

The Brothers Johnson - Look Out For #1. 1976 A&M (LP). From an estate sale (Mar). When I first started listening to FM radio in earnest in 1977, their version of 'Strawberry Letter 23' was a secret favorite. Even today when I hear it at a store or in a restaurant, it puts a smile on my face. Look Out For #1 is the album prior and is the brother's debut, which I figured would be even better. As they might say in the Minnesota Nice vernacular "Yea No". This is way too commercially oriented for my tastes, and belongs more to soul than hard or jazz funk. There are two instrumentals on Side 1 that are pretty good, but nothing really stood out even there. One of those albums where I find myself saying it's good for what it is. I say that a lot about Country albums too. I still want to find the album with 'Strawberry Letter 23' though. I'm sure I will (and I did later that year - Shuggie Otis).

*Grant Smith and The Power - Thinkin' About You / You Got What I Want. 1968 MGM promo (SP). From the RT collection (Feb). Soul music of course, of which I do enjoy some. I like the horns, organ, and funky rhythms. But this is mostly vocal gospel inspired pop on top of that. Might have been something I would have held onto - but not at its going rate (well after trying to sell it to no buyers, I decided to keep - but I'll eventually part with it).

*Donna Summer - Love to Love You Baby (short and long versions). 1975 Oasis (SP). Interesting on how I acquired this one. I found a pretty rare 45 in a buy 1-for-a-dollar-and-get-9 free bin at Independent (Feb). So I just grabbed nine 45s that had good looking plain white sleeves to cover some of the RT 45s that didn't have any cover for. You can't even buy plain sleeves for 10 cents each, so what a deal. And this was one of them. Oh cool - I remember this of course from my youth. For a good church girl, this track sure does ooze sex - more so than just about anything as mainstream as this. Honestly this song has only gotten better with age. What a performance!

Earth, Wind & Fire - That's the Way of the World. 1975 Columbia (LP). Thrift shop find (Jan). The big hits here are 'Shining Star' and the title track, but I found all the tracks satisfying on some level. They're great songwriters and the instrumentation is full bodied. I did want a bit more from this one, as it's fairly superficial on the whole.

* - Keeping for the collection

Phluph. 1968 USA-Massachusetts

This is an old CDRWL entry. My edited thoughts from back then were: Phluph were like many one-offs during the psych era - faceless, nameless, and a $1 cutout bin special. On the clueless Verve label, and lost in the shuffle with many of their Boston ("Bosstown Sound") contemporaries, Phluph went away with barely a murmur. Starts off more in typical psych rock territory. But then it takes an interesting turn towards the weird by A3 'In Her Way' (though perhaps not weird enough). One distinguishing characteristic of Phluph's sound is the prominent use of organ. Has that carnival sound, like The Doors, but the similarities end there. Some surprising fuzz guitar outbursts too. Even a rare progressive rock move here and there. A very good listen that grows on you over time.

I'm not going to have much to add here, just to state that last night's listen confirmed my positive experience. The end of Side 1 to the beginning of Side 2 is the highlight for certain. It's definitely pop/sunshine focused psychedelia, with an edge. Recommended.

Ownership: LP: 1968 Verve. Single sleeve. Recent online acquisition that replaces the cd-r that made up the original entry. No legit reissues exist (highly unlikely the Akarma release is legit). This was an album I'd secretly hoped to find in the wilds, but when a "NM" copy showed up - and without sale marks like most copies - I splurged. Near mint, my ass. It's so frustrating when sellers have no clue. I'm not a picky buyer (but I do try hard to be a meticulous seller), and I'm very lenient as it's not possible to catch every little thing. But jeez, you can't call an album filled with hairline scratches and background noise Near Mint. That's gross negligence. Even worse, the dope sent the record in the cover. For once, I lucked out, and no cover damage occurred. The only solace is the price was not too far from a VG+ copy on Discogs. But I could have waited. Oh well. 

12/10/13 (CDRWL) 

Anacrusis - Reason. 1990 USA-Missouri

My first encounter with the St. Louis based Anacrusis was with their 3rd album Manic Impressions, which I purchased real time. It quickly became a personal favorite, and I look forward to telling that story some day. Within the next 2 years I also picked up their 4th and final album Screams and Whispers, while also finding their debut Suffering Hour on LP at a St. Louis record store. This chronology is important, as while I loved their 3rd and 4th, I really couldn't deal with the raw and pseudo-deathy Suffering Hour (an apt title BTW). In fact, it's one of only a handful of metal LPs I've sold in the last few years, as the final listen continued to leave me cold. So I never did hear the album "in between", as I was never quite sure which side of the aisle it would sit in. The scant reviews were never definitive enough for me to pursue in earnest. 28 years later, I finally gave in to that curiosity. That album, of course, is Reason.

Without a doubt, Reason is a departure from the debut and lays the groundwork for their masterwork Manic Impressions. There are a couple of places where they lose their mind, and go blast-beat guitar-solos million-miles-an-hour, but for the most part Reason has that same yin / yang approach that make Anacrusis so fascinating. It's my kind of inventive thrash with seemingly unrelated riffs coming at you at various angles. Kenn Nardi's schizophrenic vocals, at once soft and calm, at others shrieking like a mad man, continue to fascinate. Turns out that The Cure was one of their primary influences at the time, which may explain its dual personality. Anacrusis is a band you do not want to have as background music while doing other things. You will be annoyed if approaching the music that way. They require your full attention. But you will be greatly rewarded. As with all albums like this, I'll need more time to absorb it, but it's likely to only grow in stature. Essential for fans of that odd strain of progressive thrash that existed in the late 80s and early 90s.

Ownership: CD: 2019 Metal Blade. Recent online acquisition. Digi-pak with lyrics and photos. No liner notes, which is a bummer. Part of an Anacrusis reissue campaign, that includes 2 LP sets of course. Apparently the band is getting back together again. That should prove to be interesting. Reason was not originally pressed on LP here in the States (only the UK), with Metal Blade only issuing a CD - with an atrocious cover - not sure why they didn't use the original, which they rectified on this reissue. I was still mostly an LP-only guy in 1990, so that probably explains why I didn't discover them until a year later.

3/10/21 (new entry)

Gary Saracho - En Medio. 1973 USA-California

Last week, while digging at a thrift shop, I came across a large Latin collection. Almost entirely made up of Ranchera and Norteno music - fascinating (love those uniforms and bigote's!), though largely lost on me. But in the middle of the stack was En Medio. On Impulse? OK, I'm buying this. Wasn't quite sure what to expect when the needle dropped, but it most certainly wasn't this. From the John Coltrane-ish opening notes, I knew this was going to be a special outing - as long as the saxophone is kept in check. Los Angeles based pianist Saracho made sure of just that too. In any case, I made a beeline to the Kozmigroov list to learn more about this album. What.... it's not there? Then I checked to see if my jazz leaning Gnosis buddies knew about it. Nope - just a few grades from the more eclectic listeners. What the heck is going on? While researching the title at hand, I'm mucho enjoying the superb noirish jazz thrust upon me - with a definitive Latin perspective.

Until Side 2. The 14+ minute 'Señor Baker'. Wait, what, excuse me? I managed to get to 2021 without ever hearing about, knowing, having been referenced, or any other kind of hint, innuendo, or sidebar that this even existed. We are talking a deeeeeeeep Latin funk groove, with wailing fuzz guitar, and a hypnotic rhythm section that reminded me a bit of the Joe Henderson album that we just talked about. I-I-I-I just don't even know what to say here. We're in Wolfgang Dauner territory mixed with some early 70s Miles Davis, Reggie Lucas, John Abercrombie's Friends, Lotus-era Santana, and classic Embryo. Did I get your attention? That was the plan. Best personal discovery of 2021 so far. Get this.

Ownership: LP: 1973 Impulse/ABC. Gatefold. Acquired as noted above. 

Obscure, but not that obscure, even though I couldn't even find it on YouTube. Word still hasn't gotten out about this, or so it would appear. As such, LP copies can still be had for a reasonable price. Never reissued in any format* (though a South African press exits (?!)). Found an excellent recent article about Saracho which includes how this album was created, and the bad timing of it all. The pressing was limited due to geopolitical events. My copy has a promo sticker appended, though the label doesn't state it is. This would be the only album from Saracho. What a pity.

*Reissued on LP as part of RSD in 2022. I wonder if this review had any influence? Probably not, but interesting the timing.

3/9/21 (new entry)

The Union - Love?? / Good Things. 1967 USA-Texas

One more completely obscure 45, this time from Houston, that proves the 60s were loaded with great talent, and not enough outlets for them all. 'Love??' is really great and has that tranced out psychedelic sound with doomy fuzz organ. Think of a post-Animals song mixed with the Group 1850 singles. Awesome. 'Good Things' is more groovy, also featuring organ (not fuzzed though) and jangly guitars with a great hummable tune. Definitely these guys should have made it past the minor leagues.

Ownership: SP: 1967 Radel. Online acquisition (2020).

6/7/20 (first listen); 3/7/21 (review / new entry)

Saxon - Unleash the Beast. 1997 England

I was an early adopter to Saxon, having bought their quirky debut album (1979) not long after it came out, followed by Wheels of Steel, Strong Arm of the Law, and Denim and Leather. And that was it for me. Didn't even follow the band out of high school. It was only within the last 7 years that I completed their early 80s classic run with a purchase of Power & The Glory (LP). What they did after that, I really don't know. I've certainly read a lot. It's apparent that Saxon made a go at "capturing" the US market, to no avail (as to be expected). And at some point in the mid 90s, got back on their (iron) horse and went about making music in their former early 80s NWOBHM style, but updated to modern heavy standards.

From my perspective, one of the issues that plagues Saxon is their image and moniker. If one didn't know better (and I didn't at first either), you'd think Saxon to be a band similar to Manilla Road, capturing the ethos of Medieval times, and creating mysterious semi-progressive heavy metal. Nope. Saxon are a biker band, through and through. A creative one, yes, but they're very much in your face metal. 

If Unleash the Beast (1997) is an example of what I can expect to hear going forward, then I'm in store for at least 11 more great albums! Band leader and lead singer Byff Byford is now 70 years old, and by all accounts, he hasn't lost a step. And right next him is his trusty aide and guitarist Paul Quinn, of which the same can be said. Right from the get of the title track, you'll know that Saxon are back from the grave, and packing heat! Every track here is classic NWOBHM music: Melodic, yet heavy riffing, with high quality guitar solos. Byford sounds like Byford, his distinctive higher pitched voice soaring peacefully (he's no screecher) over the racket underneath. Unleash the Beast is yet another pleasant surprise. Obviously I need to hang out more in the CD bins to see if I can find more of this! 

Ownership: CD: 2007 SPV (Germany). Recent acquisition as part of the large thrift shop find. As for the CD repress, the hype sticker is hilarious: "Bonus Tracks, Unseen Photos, Liner Notes, Original Artwork, New Booklet!" OK, the last two are probably fair. Bonus tracks? Yes, there are two 3 minute live cuts. Liner notes? A very small paragraph written by Byford. Unseen photos? There's only one photo! lol. No matter - it's the music that kills it here. I'm always curious if they released albums like this real time on LP. Nope. Not even in Germany or Sweden. Must have been tough for LP only fans back then. That matter was rectified in 2008. Interestingly enough, this is the only Saxon album I own - or have ever owned - on CD.

Metal Church - The Dark. 1986 USA-Washington

For whatever reason, I could never buy this album back in the day. It was like a reverse magnet. I'd have it in my hands, and put it back. I loved the first album (still do), and when Blessings in Disguise came out, I jumped on it. This latter work remains one of my all-time favorite metal albums. But I still didn't get The Dark. I even had a CD of Human Factor at one point (long gone). So leave it to me to wait until it's expensive. That's the Genius Hans way! Ah well, on the same wall with Wrathchild America was a perfect copy of this (it was an incredible metal buy from these guys - all in shrink and most looked untouched). It was overpriced (like unfortunately most of the others, though the WA was fairly marked), but I can never find anything to use my trade credit on, so what the hell - still free for me essentially. 

I offer this prelude to give you perspective on how I approached my first listen. It was with high anticipation. Well... it appears my basic instincts were correct. Or I should state - sort of correct. It's a good album for sure - solid metal all the way. But it misses the X factor that the two albums that surround it have. Whether it be the lack of hooks, energy, or epics, this album isn't breaking any new ground for 1986. I do appreciate Dave Wayne's shrieky voice though. On the downside, the production is a bit "square wave" if you know what I mean. I'm sure I need more time with the album - as the other two I must have heard well over 50 times each (which is what we all did back then). But I wasn't compelled to hear The Dark twice in a row last night. Anyway, a keeper for sure. But disappointing.

Ownership: LP: 1986 Elektra. Single sleeve with lyric inner. Acquired locally as noted above.

3/7/21 (new entry)

Def Leppard - Pyromania. 1983 England

My history with Def Leppard goes back to the very beginning. Not the EP, but On Through the Night. Drummer Rick Allen is only one year older than me, so we were both young teens then. I was still a freshman in high school when this album came out. How I even heard about it was interesting. As with many schools, we always received a one week break in the spring. Back then (in Texas) it was still called an "Easter break" (even in the public schools), then they separated the religious dates and event to the more secular "Spring break". I'm not quite sure when that happened, but I bring it up because the date of release for On Through the night is March 14, 1980. So right about the same time. Because of this yearly break, my Mom and I would join my Dad on his business trips. He was the consummate travelling salesman, working in the industrial uniform business. And he controlled his schedule, so San Antonio would be one of our favorites choices as a destination. He had a favorite motel (yes, that's mo-tel - old days here), that had a nice swimming pool and good places to eat. And my parents even had a social set down there, all related to the business. Anyway...

If you're wondering why I'm offering this background, think a bit deeper of what's happening. San Antonio, 1980. For those who know their metal history, San Antonio was ground zero for the metal movement in the USA (look it up). They had DJ's (Joe Anthony being the most famous) who played the newest albums by hard rock and metal groups. Coming from Dallas, it was much more scarce to hear anything like Def Leppard and Iron Maiden (actually we didn't - not back then anyway). So at age 15, listening to the radio was the new highlight of going south to San Antonio. I was at an age where playing in the pool wasn't so exciting anymore. Hearing Def Leppard for the first time, now that was eventful. Of course, upon arrival back home, I arm squeezed my Dad to stop at a record store so I could buy the album (now that I think about it - I was driving then on a permit. I made him wait in the car lol). Which I subsequently listened to 100's of times afterward. And, as luck would have it, I saw them open up for the Scorpions and Ted Nugent in the summer (at the new Reunion Arena), just a few months after first discovering them. It was one of the first concerts I ever attended. So yea, I was a bona fide Def Leppard fan.

One year later, during the summer of 1981, out came High 'N' Dry which I purchased on the spot. Had you asked me on Day 1 what I thought of the album, I would have told you it was great. But I knew it wasn't. Over the next year, my interest in the album had started to wane. As did my interest in the group in general. I was looking for heavier material, and more bands were cropping up to offer just that. Finding these albums were more the issue.

This is my personal setup for Pyromania. Instincts told me it was going to blow. And the fact that now the radio was all about Def Leppard, I knew something had gone awry. After hearing the album, played in full on its radio debut night, I about puked. Kiddie, pop metal. Music for wimps. I was a grizzled tough guy from the streets. I knew real metal... bla bla bla. We all have to be 17 at some point...

Of course MTV was now a thing, so Pyromania was inescapable. I went from a fan to now hating them. There were new "metal shows" popping up on the radio everywhere, and they all played this kind of crap. Where's Iron Maiden? And people wonder how Metallica was able to scorch the earth so quickly in 1983. Us hardened metal dudes were all starving for just that!

Are you actually going to listen to this CD now? Haha, yes, I'm getting there. 38 years on from my complete disdain of Def Leppard, I'm sitting down for an objective listen to Pyromania. Disc one of the set is the album proper. In hearing this, it's truly amazing how the band were able to tap into the psyche of the era. Hit after hit after hit. All the songs are very well crafted, and quite varied really. It's definitely pandering for a large audience, which they obviously succeeded at doing. Hard to blame a group for wanting to be megastars. And they most certainly did that. Overall, of course, my low rating for this album was not warranted. It was an emotional scoring from my late teen years. It's not something I would keep on its own, but yea, it's certainly good.

Then comes the second, live CD. Recorded in Los Angeles in 1983. OK, now I can really see the allure here. The tracks from Pyromania are much rawer than the polished Mutt Lange produced album, and they come alive in this set. And of course there are live renditions of earlier material from their first 2 albums, bringing me all the way back to my 1980 experience with the band. Ah shoot - I like this, despite my emotional pleas to the contrary. Ha. Yea, I'm keeping Pyromania as part of the collection. Sacrilege I would have decried in 1983. Sigh.

Ownership: 2009 Mercury (USA). Deluxe Edition. The CD comes in a fine multi-foldout digi-pak (in a slipcase) with a full essay about the band and the time. Recent thrift shop pickup (2021).

3/2/21 (new entry)

Robert Savage - The Adventures of Robert Savage Volume 1. 1971 USA-California

Robert Savage is the nom de plume of a one Bobby Arlin. Coming from Los Angeles, Arlin started in The Leaves, took the helm of The Hook, then tried his hand as Robert Savage, before wrapping up his career with Wonderlick, who managed all but one single. 

Despite a cover that looks to be an early progressive rock effort, Arlin's only solo album is a guitar fronted trio playing a type of psychedelic soul rock. His guitar work is way out front, with plenty of wah wah and fuzz, more so than most from the era. Jimi Hendrix is an obvious influence here. The Adventures of Robert Savage Volume 1 is straight up acid rock, but when the group stretches out, the results are powerful and pleasing. Overall this album has aged well for me, and is definitely one of the highlights of the burgeoning American hard rock scene. Too bad there wasn't a Volume 2.

Ownership: LP: 1971 Paramount. Gatefold uni-pak styled cover. Recent acquisition via a trade at a local b&m. This replaced the cd-r that made up the initial CDRWL entry. Never been reissued (legit) in any form, though the original LP isn't terribly expensive.

2009 (CDRWL); 3/1/21 (new entry)