Gruppo 2001 - L'Alba di Domani. 1972 Italy

Like many bands from Italy during the early 1970s, Sardinia's Gruppo 2001 were a romantic singer songwriter group. Essentially they were a pop collective, who suddenly found themselves out of date with the explosion of prog rock everywhere in the country. So why not take a stab at this new trend? L'Alba di Domani is the result, Gruppo 2001's only full length album. Starting off like New Trolls Atomic System with blazing electric keyboards and flute, it would seem Osanna and De De Lind were in store for the listening session. After a minute or two of that, the band says "naaa", let's get some sing-a-long choruses going on here! And that's pretty much what you can expect from Gruppo 2001. They tease with prog, but their bread and butter is pop. Similar to I Dik Dik, Delirium's debut, Capricorn College, I Santoni, and many others from Italy. The only chance to appreciate this album is to have a fondness for the 60s Italian pop sound. It's a style that I embraced later in life, and so when I first heard this album some 25 years ago, I couldn't get it out of the changer fast enough. A few years ago, realizing my tastes had changed, I took a chance on this LP, and was rewarded with a quality listen. I just kept my expectations in check. At its best, it recalls Era di Acquario and even early Premiata Forneria Marconi. L'Alba di Domani is strictly for deep divers of the Italian prog rock movement, otherwise disappointment is likely to ensue. As for Gruppo 2001, the group veered back into their comfort zone, and released a dozen more singles before calling it a day.

Ownership: LP: 1983 Nexus (Japan). Comes in a thick heavy gatefold. If you want this album, there's a really good chance it will come from Japan. Originals are super rare, which tells us it wasn't a big seller in the first place. There is one domestic CD, but everything else comes from the land of the rising sun.

Ptarmigan. 1974 Canada

Ptarmigan's sole album starts with the impression that this will be a typical acoustic guitar / vocal fronted folk album. But all bets are off starting with 'The Island', an extraordinary composition with haunting recorders (alto, tenor, and bass), thrashing acoustic guitars, otherworldly percussion, scattered drums, spastic acoustic/electric bass, and some mystical dual harmonic male vocals. At once you hear the serenity of Popol Vuh, the weirdness of Might of Coincidence, combined with something perhaps completely unknown. As the album delves deeper into the recesses of its own world, it becomes clear we are hearing something of the brilliant. Each composition is distinct, but uniquely Ptarmigan. Perhaps it's because of the isolated locale of the band, as they resided on Vancouver Island (a remote wilderness area across the channel from the city proper).

I don't think Columbia wanted any part of this, but the influence of a one Paul Horn managed to get the recording released on the major imprint a full year after being mixed in 1973. It wasn't a best seller, hence its rarity today. Do not miss this gem if you get a chance. Truly one of a kind, though within the context of the familiar.

Ownership: LP: 1974 Columbia; CD: 2005 Lion Productions (USA). The LP is a recent online acquisition and comes in a single sleeve with a black border. My introduction to the album came in the early 1990s via a bootleg LP which doesn't have the border (sold long ago). The first CD on the scene was actually a cd-r release by the band under the name Nordstrom/Dias. It came with a very informative booklet on computer paper. Six years later, Lion reproduced this as a factory pressed CD with a more professional looking booklet, and added some more information to it. Both copies are worth keeping.

9/21/13

Nattura - Magic Key. 1972 Iceland

Nattura were Iceland's representative of Europe's progressive rock slant on the psychedelic movement, especially those with female vocals. There's a strong focus on melody without compromising instrumental integrity. The compositions are well thought out, and it definitely belongs to the early 70s progressive rock scene. For some folks that means Magic Key is "commercial", though I would vigorously argue against that. Given that there are some male vocals, and Nattura are Scandinavian, perhaps Ruphus'  debut New Born Day is the band's closest cousin. From a composition standpoint, I hear quite a bit of Sandrose, but the female vocals are more pleasant. In this way, Goliath or Affinity come to mind. One of the oddest aspects of Magic Key is the heavy use of synthesizer, such an early date for the instrument to be a feature - and especially from a remote country such as Iceland. In this way, Nattura reminds me of those Idahoan outlaws known as Salem Mass. So yes, Magic Key is for deep divers, and if you recognize the above associative name game, then you'll want to get on your flippers. Essential in my world.

Ownership: LP: 1972 private. Single sleeve. I was first offered this album at a Dallas record show (sometime in the early 90s) from a Houston based dealer that I used to buy from frequently. I had no idea what it was, and I was in no financial position to drop ~$100 on a spec buy. Even if I knew what it was, I couldn't afford that. Later in the decade (while now living in Denver), I traded for it from a fellow collector in Austin. I have to think he bought it from the same dealer. There couldn't have been too many copies of this private Icelandic album roaming around Texas right? And since that time, I've taken it back and forth from Texas to Colorado. It's not going anywhere (from my collection that is). This was a charter entry for my CDRWL. That problem was solved last year by Japan's Belle Antique. Not sure I'll be getting it (presuming no extras), but if I didn't own the album already, I would certainly spring for it.

Prof. Wolfff. 1972 Germany

Prof. Wolfff were yet one more representative of the organ driven Krautrock movement of the early 70s. They are also one of the very few bands from that era to actually sing in German. But this is no Deutschrock album - the music is pure Hammond / guitar driven progressive hard rock like a cross between Gomorrha and Haze. There's a bit of light flute as well. A couple of the tracks have a commercial slant due to the nature of the chorus' such as 'Das Zimmer', 'Mißverständnis', and 'Hans Im Glück'. But have no fear, the music itself is a bullseye for the classic 1972 German style. The album was originally released on Metronome, but had it come out a few months later, I would imagine it would have found itself on the label's newly minted Brain imprint. Necronomicon, Zarathustra, and Virus' Thoughts are other guideposts here. A very fine release, and collectors of the scene should not miss it.

Ownership: LP: 2011 Second Battle. Purchased online not long after release. At the time, it was a supplement to my CD copy (1998). But since they're both on Second Battle, and essentially have the same packaging and music contents, I was prepared to let one go. The decision was made for me when a friend recently made me a great offer for the CD (which is actually the rarer of the 2 in this case).

As for the packaging, the album features a cool gatefold cover with fantastic artwork, and lyrics inside the gate. Second Battle has a solid reputation for putting together beautiful reissues on vinyl. But they usually offer little else. In this case they provide a large booklet with newspaper reviews and photos. But no essay unfortunately. Given that originals are super expensive, this is likely to be the final copy for me.

3/19/12

 

Melodic Energy Commission - Migration of the Snails. 1980 Canada-British Columbia

Melodic Energy Commission are one of those bands that are near impossible to write about. Their sound is straight out of the 1971 Krautrock cookbook - it's wildly psychedelic sounding. But they don't have the structure or flow of any of the UK or German bands of the era. And they are completely out of time for 1980. All of which scores huge points in my book. They are truly on their own planet here. Even though they feature Del Dettmar on keyboards, there's not a trace of Hawkwind's type of space rock to be found anywhere. Migration of the Snails needs to be heard a few times in a row, just to get an idea of what they're up to. It's a large ensemble and they play dozens of instruments, all very talented at that. One of a kind group, that's for sure. When they reformed in 2005 with Time is a Slippery Concept, they didn't miss a beat, and sound pretty much like they do here. Genius level, really.

Ownership: LP: 1980 Energy Discs; CD: 1997 Vapor. The single sleeve LP was purchased (or traded for) sometime in the late 90s from an unknown catalog dealer. Sealed copies could still be had back then, and I nabbed one. Comes with a cool insert with trippy cave paintings and a transparent lyric insert. Nothing these guys do is normal. I purchased the CD upon release, entitled Moon Phase Compendium, and it features their debut Stranger in Mystery in full along with almost all of Migration of Snails. In order to fit on one CD, they left off the track 'Perriwinkle St.' - which is more of a soundscape, and probably the best choice to leave behind if forced. The CD comes in what Discogs calls a "soft plastic jewel case", with a few notes and credits behind the plastic. Because of the omitted track, I first listened to the album on LP. Then listened to the CD two more times (only the Migration portion, which opens the disc verse the expected other way around). Really the CD sounds great here, as the original pressing wasn't the best. For an album this great, I'll continue to keep both of course.

Liquid Sound Company - Exploring the Psychedelic. 1996 USA-Texas

Liquid Sound Company is the psychedelic outlet for guitarist and bassist John Perez, from Fort Worth, Texas. John comes from the rich musical background that DFW offered in the 80s and 90s - the same one that I was fortunate to learn and participate in. It would be some years before John and I crossed paths, but he's yet another great individual who represents the sprit of the times. And a super cool guy. John's primary claim to fame is his participation/leadership of the doom metal band Solitude Aeturnus, a group who later provided Candlemass with their lead singer. But he's run the gamut from death metal to psychedelic and everything in between. And he's promoted many such bands through his Brainticket label. I don't know where John first heard of Brainticket, but it's very well possible it was through our radio program in the late 80s/early 90s, or a friend of his was turned on that way. That would be satisfying for sure.

Exploring the Psychedelic is the debut for Liquid Sound Company, a brand name that continues to live on, even though there are only 4 releases in a 25 year timespan (including a new release this year). But way back in 1996, Exploring the Psychedelic was indeed doing just that. Perez and crew were tuned into the scales of Asia, while turning the amps to 11. It's mostly instrumental, and the band were able to avoid falling into the common Stoner traps. There's no metal here,  this is pure heavy psych - 1969 moved forward 27 years. Mostly a guitar based trio, with some fakeatron on the last track. There's plenty of variation of sound and songwriting, so it's a fully realized effort, not a one-trick pony. I have many such releases in my collection that I've grown tired of, but Exploring the Psychedelic isn't one of them. It remains a bright light from the burgeoning 90s retro heavy psych prog scene.

Ownership: CD: 1996 Brainticket. Acquired not long after release, from a catalog dealer most likely. I was living in Denver by this point, so I probably didn't buy it locally. Standard jewel case with a hard to read booklet :-) It was also released locally on LP from Dallas' own Rockadelic Records, a label that was trying to promote newer bands after years of great success releasing rare American artifacts.

1996; 5/21/21 (entry)

Karl Ratzer ~ Austria

Street Talk (1979)

From the very first notes, I knew this was going to be a special session. 'Mean Time' opens with an aggressive type of jazz fusion, of the kind one usually reserves for Mahavishnu Orchestra. And when guitarist Karl Ratzer enters in and lays down some raw licks, it just takes the whole thing to the next level. 'Side to Side' is the requisite mellow number, but highly enjoyable with some fine melodic lines. Then we enter into that special zone that we sometimes talk about. That X Factor sound that transcends the great from the norm. And with that, the title track starts off similar to the Joe Henderson live album we recently talked about, with a killer rhythmic line, and some fine underground sax from Deszo Lakatos. When Ratzer enters this go round, he isn't foolin' around. His rough and tumble soloing reminds one of the Krautrock masters circa 1971. What a monster of a track! Flipping over to side 2, we start with some massive fuzz bass from none other than Jeff Berlin (how is this album so unknown?) and yet another killer jazz rock track with great solos. 'Mother Song' calms the proceedings down and adds some fine flute, almost bossa nova-ish. And the album closes with its longest cut, the eight and a half minute 'In the World' which takes us back to the opener's heavy fusion antics, like Weather Report on steroids. 

In doing some research, perhaps the biggest surprise is Ratzer was the guitarist for Gipsy Love. This band from Austria is often times lumped in with Krautrock, yet it's far removed from that. More like boogie rock. So even more strange that Street Talk is more aligned with his homeland's historic sound - but not his.

The parallels with Gary Saracho here are immense. Not in sound - that one is even more freaky - but considering they are out-of-nowhere major label US releases that no one talks or knows about. You won't find this in Kozmigroov. Or Gnosis. There are a whopping three whole ratings on RYM. It exchanges some coin on Discogs, but what you would expect to pay for a new LP. Street Talk should command way more. Why? Because this brings the good goods, and I can assure you it is not a common record, and no reissues exist. It's time for this album to be recognized. So let's get started here. Second best new discovery of the year for me, after Saracho.

After hearing this, I bought two more albums online immediately. These two seemed like they would be similar to Street Talk in outlook. I held off on this review until I could absorb them. So let's see how they compare (see below).

Ownership: 1979 Vanguard (LP)

5/20/21 (review)

In Search of the Ghost (1978)

After hearing Street Talk and doing some follow-up research, In Search of the Ghost looked like the best bet. In fact, given that it basically takes Jeremy Steig's band along for the ride, I figured this might even better than Street Talk especially given that it was one year earlier. Well... it didn't surpass, but as a whole, it definitely falls into the great category. In Search of the Ghost takes a lot longer to get going. Eight plus minute opener 'Israela' is primarily acoustic. Which is fine, but that's not what I was looking for. The 9+ minute title track begins to hint at the Street Talk sound. There are periods here where it seems Ratzer is ready to take off. But he pulls back. It seems he's shy, or feels the rest of the band should have a chance to shine. It takes a couple of listens, but it does transcend the genre norm. Excellent track. The flip side starts with two shorter numbers 'Jump Street' and 'Prime Mate', both of which are pretty standard late 70s jazz fusion fare. I was losing faith that In Search of the Ghost was going to be anything special. Until the closing 7:40 minute 'Asteroids'. If presuming this was recorded chronologically, then one could see Ratzer's anger building up throughout. Holy Moly, does he let loose here! It has the intensity of classic Mahavishnu Orchestra, but it's unhinged and unfocused. A big sloppy mess - just the way I like it! An unknown classic of the genre, one that awaits discovery. Special mention must go to the rhythm section of Joe Chambers (drums), Eddie Gomez (bass), and Ray Mantilla (congas, percussion) as these guys are on fire throughout the entire album, even if Ratzer is half asleep for most of it. Steig of course provides some fine flute, similar to his own solo albums. Only saxophonist Bill McPhearson seems to be largely absent from the entire album (not always a bad thing when it comes to the instrument...). In conclusion, after having a scare that this would fall into the "nothing special" category, it was saved by the intense closer, which also put the excellent title track into perspective. So about 17 minutes of killer music and another 17 minutes of typical jazz fusion fare (though still well done). Very pleased.

From the LP we learn that Ratzer had been living in New York City for 5 years by the time of this album. 

Ownership: 1978 Vanguard (LP)

5/20/21 (review)

Fingerprints (1979)

So we get to the 3rd and final Ratzer pickup, after being stunned by Street Talk. From the beginning, Fingerprints sounds more professional than its predecessors. Too bad. 'New Walz' defines the newer sound, that of a slicker jazz fusion, though still very satisfying. The highlight is served early this time and it comes in the package known as 'Between the Lines', where Ratzer goes nuts on the guitar straight from the get. The sound isn't as raw as prior, and it has more of a phased sound, one that was more in vogue by the late 70s (Ratzer's former tone was born from the early 70s style). After which, the proceedings become more typical, with special note to the fine organ work on the title track, easily the next best song on here. Had I heard Fingerprints first, I would have been happy enough with it, but probably wouldn't have investigated his back catalog further. As a conclusion to Street Talk, it doesn't hold a candle. All the same, I'm keeping it.

Ratzer moved to CMP for this release. I associate the label more with the 80s, and they have many fine edgy fusion works on the imprint. Ratzer is a perfect fit for the label. 

Ownership: 1979 CMP (LP)

5/20/21 (review)

No reissues exist for any of these albums as of 3/29/25.

5/20/21 (new entry)

Altablanca - En Vivo Mendoza '81. 1981 Argentina (archival)

Somehow I missed this release when it first came out. Altablanca is the type of record I tend to gravitate to - that of the newly discovered progressive rock tapes, from a band who had no prior release history. Like many groups who only managed to be recorded live, one imagines what could have been had they entered a proper studio. This concert in Mendoza is very sharp and trebly, but still enjoyable to listen to. Altablanca apparently went through 3 stages (or marks as the English would call it), going back to 1976 and ending in 1983. This recording represents the final incarnation, and were a full 6 piece at this point. The opening solo notes come from a type of String Synthesizer, so it definitely dates to the time and place. There's not much variation in the tones he uses, though the playing is excellent. The rhythm section is solid, never hogging the spotlight, and continues to move the music forward in the proper manner (i.e. not stilted or clumsy). So that leaves the 3 key protagonists. First and foremost would be guitarist Mario Matar, who is the principle songwriter. From the get go, Camel shows up as a primary influence, and Matar clearly sat at the knee of Andy Latimer. After three quality instrumental opening tracks, the 2 part epic 'Paso a la Vida' shows Altablanca heading towards more complex waters. Enter stage right Susana "Turca" Naldi with her superb Spanish vocals as well as Daniel Martin who provides copious flute. And now the sextet is complete. There's even a couple of places where the music gets trippy, with more impassioned vocals and soaring flute and guitar. The Argentinian musical landscape was rich in the 70s and early 80s, and bands as diverse as Aucan, Ave Rock, Rayuela, Crucis, and Agnus all come to mind here. Certainly a great discovery for those who love the Southern Cone's take on European progressive rock.

Ownership: CD: 2013 Viajero Inmovil. Recent online acquisition. Comes in what Discogs calls a "square gatefold digisleeve", which is how the label released most of their CDs. Inside is a paper sleeve holder with b/w photos and lyrics. Nicely done.

Fren - Where Do You Want Ghosts to Reside. 2020 Poland

I had a few people recommend this title to me last year, more than usual, so I figured I'd add a new contemporary group to my buying list. The trouble was that every time I went to purchase the CD, it would have just sold out. Finally was able to secure one, and let's see what we have here. Right from the opening mellotron notes, it's clear this is going to be in the retro prog space, which is how it was described to me as well. What's strange about that is retro prog - as the term has become understood - is primarily a western European phenomena, based on their own country's 1970s progressive rock past. Especially England, Italy, and the Scandinavian countries. And the occasional Yank I suppose. But Eastern Europe's progressive rock scene of the 70s grew up differently. It had no choice, being forced to separate due to Communism. I enjoy both immensely, and it's nice to see a band from Poland make a try. When I think of Poland, bands such as Collage and Riverside come to mind, each being champions of neo prog and modern prog respectively.

Now having said all of the above, Fren aren't Wobbler, Astra, or Anglagard either. There is a distinctive post rock element to their sound - and the lengthy meaningless title of Where Do You Want Ghosts to Reside kind of gives that away. Big sweeping symphonic sound - somewhat modern sounding - as if Pink Floyd circa Animals wanted a try at emulating Jordsjo. I've always struggled with those lethargic fat beats that the genre seems to call for. So yea, Fren are a retro prog post rock band. Read that last sentence again. What a world we live in. Genre's aside, I was a bit fearful that the rhythm section wasn't going to participate, and essentially a computer could have taken over. But my fears were assuaged by the time of 'Gorąca Linia' and especially the jazzy 12 minute 'Pleonasm', quite possibly the highlight of the album. There's a slight resemblance here to fellow countrymen Gargantua. The entire band is quite accomplished, and I truly enjoy their (mostly) analog mid 70s sound. In the end, I'm rating this all instrumental album as "great", with the caveat that I'll need some convincing to move on with the band's next effort. Every year that goes by, the collection space is getting tighter. Standards are very high for newer albums. I know it's not fair that Night Ranger gets a nostalgia pass and the accomplished Fren has to fight to get in. But that's the way it is.

Ownership: CD: 2020 private. Recent online acquisition. Comes in a fine die-cut digipak, with insert that changes its design (see attached images). Also really appreciate the murky yellow and black original artwork. Though the top image isn't like mine (online version?) - the one to the right is, but with the insert taken out.

5/16/21 (new entry); 11/11/23

Sindelfingen - Odgipig. 1973 England

My first exposure to Sindelfingen was at the time when the first reissue surfaced (1990) - the 2 LP set of Odgipig and the archival Triangle. I remember I wanted a front seat to one of the most sought after progressive rock rarities. The descriptions sounded delicious, and even though the set was expensive, I figured it was a can't miss item. Hmm. Welcome to the world of the ultra-rare private press. Which also welcomes one to the underproduced recording. I wasn't quite ready for that yet. And so on first blush I wasn't very impressed. And I was anxious to recoup my investment, and traded it back to the marketplace quickly. A few years after that, I acquired the CD (on Background) via a bulk buy. By that time, my ears had adjusted to the various types of underground recordings and I heard the album in a much better light. On a couple of revisits, my opinion of the album continued to improve. And last night's listen was no different.

Sindelfingen are very much a progressive rock band, but with a folk edge. They do seem to call upon the bigger names of the genre, and one can hear Lizard-era King Crimson, Jethro Tull (trading the flute for recorders), and even a little bit of Yes. The Tull reference is particularly relevant on the shorter numbers, and the vocal style resembles Ian Anderson at times. As noted, the recordings are a little rough, but the ideas are rich. Though there are 6 tracks, the centerpiece being the 3 lengthy opus' that define the album. A good one for deep divers of the English progressive rock landscape. However, be sure to check this one out after immersing yourself with the classics of the genre first.

Ownership: LP: 2010 Anazitisi (Greece). Online acquisition from a few years ago. Single sleeve. It was sealed (via sticker), and offered up at a fetching price, so I nabbed it. That seal was broken last night. This is the definitive reissue for certain, and is a first class product. It comes with a foldout insert chock full of liner notes, as well as two individual sheets of lyrics. Good sound as well, all things considered. It doesn't have the Triangle album, however. As far as I know, that title only exists on the 1990 album mentioned above. This LP replaces the basic Background CD, also discussed above.

39.4 ~ Mexico

39.4 (1972)

I first came across the name 39.4 from a brass rock listing some years ago. I saw that it was on CD, but as is often the case, no copies were available. There are three distinct LP pressings, so I put all four on my want list. And years later, finally a reasonably priced CD shows up, and now it's here for a quality listen.

39.4 is very much patterned after the thinking man's UK horn rock school. Bands such as Brainchild, Heaven, Greatest Show on Earth, and Galliard are all in this conversation. The horn charts are tight, the guitar has the proper acid fuzztone, the vocals are rough n' ready, which is all then juxtaposed against the soft flute. The songwriting is top notch, with some memorable melodies. This is not a new formula, but a winning one. 1972 is a bit late in the game to debut with an album in this genre, but again we are talking Mexico, which really had no chance to be at the forefront of a musical movement such as this. The vocals are in English, and I'm not picking up much of an accent, which tells me the singer probably spent some time in the States. The track titles, confusingly, are in Spanish (with translations). As you probably know, I'm a big fan of the style, so this comes easily recommended from me. If just getting your feet wet, I'd recommend the bands listed above before deep diving here.

There are two bonus tracks on the CD, both from a 1975 single (on Magneto). It's not labeled. These are not brass rock tracks, and have more of an indigenous sound mixed with rock. They're both very good though.

Ownership: Okeh (CD). This is the cheapest packaging I've ever seen for a CD. It essentially looks like a simple booklet. And that's it. The CD is put inside of that. It's oversized, so it's not like the seller forgot to include the backplate or anything like that. That's its design.

Odd also that it was on the Okeh label. How many albums on Okeh are in your collection? I always associate the label with 78s, as they were one of the major early players, going back to 1918. But one of the 3 original pressings was on Okeh (all 3 have different covers as well, and this one is the Okeh release). That makes sense though, as the original was on CBS, who owns Okeh (now Sony). In reading the history of the label, they relaunched it many times over the years, and today they are still active. Also to mention, the non-documented bonus tracks are from a different label. I dunno about this reissue...

Yet another fun fact: My Great Grandfather released two 78's on Okeh. And one of them was the very first recording ever made in Dallas, Texas. Documented fact. No coincidence, then, that I became a music freak. Of course I have no talent (in much of anything as it turns out), so I had to settle for listening rather than making.

5/8/21 (acquired / review / new entry)

Nu - A Golpe de Latigo. 1979 Spain

Ñu's sophomore effort A Golpe de Látigo sees the band streamlining their sound further, as the music here is heavier and more compact than their stunning debut. All the same, Ñu is still very much a progressive rock band with Jose Carlos Molina continuing to sport a mean flute, and the violin touches have yet to disappear. But for 1979, this is an incredibly heavy album. The raw proto-metal guitar sound, and the Halford-esque en Español shrieks of Molina, all have a passing resemblance to same era Judas Priest. So imagine perhaps Ian Anderson walking into the studio for the Hell Bent for Leather sessions, while contributing to the songwriting - and after listening to a Bloque album perhaps - and you have an idea of what Ñu has accomplished here. Groundbreaking stuff.

Ownership: LP: 1980 Chapa Discos. Gatefold. Online acquisition from 2020. According to Discogs, the version I have is one year later from the original. My first copy was the Zafiro CD (1991) but offers nothing else, and I decided to move it out. 

11/4/16 (RYM)

Elias Hulk - Unchained. 1970 England

In the 1980s when I first started collecting rare progressive rock albums, Elias Hulk were one of the big names fetching enormous sums. Catalog dealers would froth endlessly about how heavy it was. Eventually I secured the See For Miles LP reissue in the early 90s and... no surprise... was completely underwhelmed. It's definitely not that heavy, it's foundation is in the blues, and there's a mellow psych element that is pervasive. All of which I didn't care for then... and all of which I think is great now! Haha. Whatever the case, I didn't sell the LP right away, figuring there must be more than what my expectation had it be. And my instincts were correct. I personally find the album to be typical of the time and place - but since that would be 1970 England - then that portrays a different standard. 'Delphi Blues' is my favorite tune on the platter, and really the only true psychedelic song found here. It's essentially an Eastern jam cycle, predating the Krautrock scene by a few months. But all the tracks are very good to excellent, and pertain a certain grimy atmosphere. An edge of madness, yet reigned in just enough to show up to work every day. Too bad they stopped here, as they had the potential to be one of the more wiggy outfits of the early 70s.

Ownership: LP: 2011 Sommer (Spain). Recent online acquisition (2021). Excellent reissue with full liner notes, and a poster. As noted above, my first copy was the See For Miles reissue LP (from a record store in Atlanta), which eventually was replaced by the label's CD version. In recent years, I picked up the Japanese mini-LP as well. I decided to sell both CDs. 

There are at least 3 covers for the original. The "copyright infringement" Incredible Hulk original; The Australian original on Interfusion (also ridiculously rare), which features two photos; And finally the See For Miles cover which has a live band shot and 5 individual photos of the group. 

10/1/92; 2014; 2015; 9/3/17 (RYM); 5/23/21 (new entry)

Skywhale ~ England

The World at Mind's End (1977)

Skywhale's sole album is one of the rare non-Canterbury UK fusion albums that sound more in line with what was happening over the Channel in places like France, Denmark, and Germany. This is an album for those that likes chops and melody, with plenty of good time signatures to keep it all interesting. The band knows to stop right at the point where the solos begin to drag. A must pickup for anyone who likes bands such as Carpe Diem, Secret Oyster, or Munju.

Ownership: 1977 Firebrand (LP)

2/14/07 (first listen); 8/14/18 (acquired / review)

Virus - Thoughts. 1971 Germany

For their second album, Virus changed radically, in both band members and music direction. Gone are the psychedelic workouts found on Revelation and instead the group focused on a more direct hard rock approach. They also switched to the Pilz label, and were representative of the label’s heavy rock groups, similar to McChurch Soundroom and Dies Irae. However, it can be argued that Virus were far superior to both in terms of instrumental dexterity and a stronger compositional base. In fact Thoughts stacks up with the best of the German heavyweights like Bellaphon’s Orange Peel or United Artist’s Twenty Sixty Six and Then. Hammond organ and guitar are the solo instruments of choice, and most of the tracks rock relentlessly hard. The vocals take a bit getting used to, as they are fairly rough and gravelly, but fits the music appropriately. There is a striking similarity to all the songs, that if not paying close attention, can begin to run together. What separates Virus from others, is a strong melodic sense, and a contrasting light touch concerning the rhythms. The organ is sometimes played with an almost jazzy like beat. Tracks like ‘Mankind, Where Do You Go To?’ and ‘My Strand-Eyed Girl’ are good examples of this song style. Rest assured, each track is chock full of blazing guitar and organ solos, while the rhythms section goes berserk trying to match the intensity. In this way, they resemble their peers in the UK like Warhorse or Atomic Rooster. Even a little Canterbury quirkiness can be spotted i.e. Egg. A great album and a must for the collector of early 70s heavy German rock.

Ownership: LP: 1971 Pilz. Gatefold. Online acquisition (2021).

Former ownership: CD: 1991 Bernhard Mikulski. Jewel case with no other info.

LP: 2013 Long Hair. Gatefold. Full booklet insert filled with unique liner notes and photos, and includes two bonus tracks - both taken from the 1971 Heavy Christmas Pilz concept album. And Virus had two of the best cuts from that album, though they total less than 5 minutes together. On the downside, the cover image is too dark, and isn't a perfect representation of the original.

1991 (first listen); 08/07/06 (review); 5/2/21 (update / new entry)

Blue Phantom - Distortions. 1971 Italy

Blue Phantom's sole album contains 10 heavy psych instrumentals, and is technically under the category of "incidental music for film and TV". That would be one hell of a film if anyone checked this one out of the "library". Apparently the trash master Jess Franco did in fact borrow some tracks for one of his sleaze-a-thons (of course he did). All the same, unlike most film music, these tracks are fully realized and not just sketches of songs. So not only do you get the cool period instrumentation - heavy fuzz guitar in particular - but the tracks are well written with memorable melodies. File Blue Phantom next to your Braen's Machine, Fourth Sensation, and Psycheground albums.

Ownership: LP: 1971 Kaleidoscope (UK). Recent online acquisition that replaces the AMS reissue LP that made up this original entry. Single sleeve with cool psychedelic artwork. My first copy of this album goes back to the early 90s and a white label bootleg, with the same cover as this (cheaply made, however). 

9/25/17

Virus - Revelation. 1971 Germany

Virus' debut is one of those albums that perfectly defines the Krautrock genre as we know it today. It's a mix of psychedelic, hard rock, and that secret ingredient, one that is only whispered about in the dark halls of the murky and mysterious underground. An underground that is hard to describe, but you know you're there when you hear it. And when you hear it, you say "that's Krautrock!". Sure, the title track includes The Rolling Stones' 'Paint it Black', a song that I might add, would itself be a blueprint for all things European psychedelic underground with its Eastern jam cycle motif. If you're looking for loud acid guitar, flute, and jamming organ with tribal drumming, plus stoned vocals - and you haven't heard Virus' Revelation - then let me be the first to tell you that you have come to the right place. And the album gets freakier as it goes, so that by the time you get to 'Hungry Looser' (sic - and finally spelled right on the GoD CD), and especially 'Nur noch Zwei Lichtjahre' with its foreboding German narration, then you know you have found ground zero for the entire zeitgeist. This isn't the cosmic Krautrock wing of Ash Ra Tempel or Guru Guru, but if you're looking for the hard rock portion of the Krautrock house, then you found it here. Congratulations on your new baby.

The two tracks appended onto the later CD's, from the 1970 45 single, are also worthy and similar in style.

Ownership: LP: 1971 BASF. Single sleeve. Acquired via a recent trade from a friend in Japan (2021). 

CD: 2013 Garden of Delights. Purchased upon release, which should be the end state on that front. As usual for GoD, it comes with a full history, photos, and two bonus tracks from a single.

This album was pretty legendary by the time the first CD appeared on the market (Second Battle), and so I nabbed one as soon as it was released (1991). In addition to that, I also picked up the 1995 version on LP (also Second Battle). Then sold it... bought it again years later... sold it again. Ha, OK, so I can be a mess sometimes. 

1/24/14 (new entry); 5/1/21 (update)

Rocky's Filj - Storie di Uomini e Non. 1973 Italy

Rocky's Filj's sole album is a superb progressive rock album, with a strong jazz leaning. Deep grooves, heavy wah wah guitar rhythms, and head bobbing melodies are just some of the characteristics of this fine work. File along with Duello Madre and La Seconda Genesi, though Rocky's Filj is a bit closer to the sound of Arti & Mestieri at times, moving it more towards progressive rock rather than purely jazz rock.

Interesting to read modern reviews scoff at the dramatic vocals, but honestly that's the style of the genre. Histrionic vocals are to be expected from the early 1970s Italian progressive rock bands. Il Balletto di Bronzo's Ys and Metamorfosi's Inferno are far crazier than anything you'll hear by Rocky's Filj.

Ownership: LP: 1973 Dischi Ricordi. Excellent gatefold with lyric inner. The LP is a recent online acquisition. This replaces the CD (2003 BMG) that made up the original entry. The back cover is my copy as we added it to Discogs.

2/23/10; 1/12/22