Frumpy - By the Way. 1973 Germany

When I first bought Frumpy's 3rd album in the 1980s, I had little use for it. That opener alone is for the dogs. It's obvious at this point, Inga Rumpf would just assume to be Janis Joplin. And the rest of the band is not to be found. I sold the LP off back then, and hadn't thought about it again until last night. Ah, but the title track takes us back to Frumpy 2, and the band are firing on all cylinders again. Welcome back Jean-Jacques Kravetz (organ) and Rainier Baumann (guitar). It's these long flights of instrumental jams that makes Krautrock such a compelling genre. Songwriting will never be Frumpy's strength, but they certainly knew how to rock. This album sounds much better to me now, and definitely going to hold onto it for awhile.

Ownership: 1973 Billingsgate (USA). This was part of the same buy as mentioned in the LP Commodity 2.49 post. I must be the only person who looks deep into the bins here, because no way anyone should miss this title (especially at $3). Billingsgate was such a weird label. Located in Chicago, their entire catalog was based on the growing Krautrock movement. They were about 30 years too early, as I don't think your common American audience was that enamored yet with the scene. Their best selling group was Lucifer's Friend, but otherwise the sales just weren't there, and two years later they were gone. But one has to admire the sheer audacity of releasing the music they did. And even their slogan included "ass kickin'". That was racy stuff for 1973, at least here in the States. I'm sure many here in America will credit the label for introducing them to today's legends, such as Neu, Scorpions, Epitaph, and the two groups above. What's also interesting is that their inner sleeve advertised three other groups they were to release: Guru Guru, Jane, and Elias. My guess is they would have released the self titled Guru Guru album and Jane's Together. And who is Elias? Most assuredly that would be Grobschnitt, as that's how they were known back then (Elias Grobschnitt). The first album or Ballermann maybe? Too bad the label wasn't around in 1971, as the choices would have been endless.

Tangerine Dream - Green Desert. 1973/1986 Germany

When Green Desert came out, it was an exciting revelation. A full archival album of Tangerine Dream promising a return to the psychedelic roots of Electronic Meditation and Ultima Thule, a sound I had become obsessed with by 1986. And that's true to a certain extent. The title track definitely passes for 1973, and it's great to hear Froese jamming on the electric guitar while Franke is back behind the drum kit. I'm sure this track has been embellished, but for the most part, it's the sound of underground Tangerine Dream before the sequencers took over. The other side sounds like White Eagle. There's nothing 70s about it. Which isn't necessarily a bad thing, but it's curious the way they presented the album. I enjoy it throughout, but it would have been so much better had they dug up another psychedelic piece for side 2.

Ownership: CD: 1986 Relativity Theory. Read the Pink Floyd - Meddle post. OK, truth be told, I bought this the same day as that CD. So arguably this was first as well. Hence its top 25 status. I was pretty motivated to get this one on CD instead of the LP (which I never did bother to get, and probably never will). I think at 35 years of ownership, we can safely assume it will go the distance with me. The CD itself offers nothing else, not even what a CD is and how to play and care for it. lol. Interesting to note, that for all my efforts and cash to buy that CD player, I remained mostly an LP-only guy until about 1991/92. CDs were just too expensive to sustain, and even used CDs cost more than new LPs. But eventually I got my money's worth, and that old warhorse lasted until 2002. Its replacement is what I still use, though it's breaking down in places (mainly mechanical, not the laser). At least it won't cost me much to replace nowadays.

Pink Floyd - Meddle. 1971 England

Well, you all know this album. Features two excellent proggy space rock numbers in 'One of These Days' (the only song from this album, incidentally, you would have heard on the radio back in the day) and 'Echoes'. And then there's four rather boring folk rock tracks sandwiched in between. These are far more prosaic and backporch-y than the mystical dazed folk of More, for example. They're definitely no longer a psych band by this time. I particularly enjoy the second movement (as it were) of 'Echoes' with its excellent organ and guitar jam. The interesting aspect of this album is just how ordinary it is for 1971. No doubt that Pink Floyd were major influencers throughout the 60s. But on Meddle, they seem to be followers. There's many more examples of music like this from 1970 and '71 that is much more interesting. And this blog is full of them. After this, it seemed Pink Floyd realized this situation as well, and went about making Dark Side of The Moon. I'm not really a fan of the latter, but it's hard to argue that it wasn't groundbreaking. They were leaders once again.

Ownership: CD: 1986 Capitol. So after that riveting review, why is this a Top 25 CD again? Glad you asked :-) In the summer of 1986, I was working as a summer intern at a major US government military defense contractor in the Dallas area. It was a great gig, and I was very lucky to get it. I had mediocre grades (electrical engineering, to be fair...) and not much else going for me. But a very close buddy of mine's Dad was one of the 4 owners of the company (see Al Di Meola's Elegant Gypsy post for more about this friend). Yes, it's true, it's who you know... In any case, I did thrive at the job, and was making serious money for a 21 year old intern. So what does a 21 year old dude in 1986 with money do? He buys him a new stereo, that's what! With a CD player! Wow - I was rich. We forget now how expensive CD players - and CDs - were at the time. Of course since I bought a new player, I needed product to go with it. There was a limited selection of CDs at the time. And, of course, there's no way I'm buying a CD of something I already have on LP. Meddle was one of the few Pink Floyd albums I didn't have at the time. So... it was the first CD I ever owned! I told you nostalgia plays a big role in these Top 25 Most Important lists. In fact, it's so old, it has a smooth jewel case with no ridges. Those have become collectible now too, of all things. 

LP: 1975 Harvest. Would you believe I never did own a copy of the LP until earlier this year? Found it at an antique mall, and priced fairly (though not a great bargain). Didn't realize it was a later press until I looked at all the markings and compared on Discogs. I like the gatefold cover so I'll probably hold onto it, but the CD is the primary for me, for all the reasons above.

8/28/21 (new entry)

Windchase - Symphinity. 1977 Australia

Symphinity is an album of great inspiration. And it never fails to do that for me, after nearly 30 years of familiarity. As with any of our favorites, there's usually a time and place aspect where the music had a profound impact that lasts for a lifetime. In my case, it came via a listen in early 1993, in a particularly low moment. Symphinity brought me back to my usual enthusiastic state. As I tell people sometimes, my therapy sessions exist inside my album collection. No need for outside counsel.

Right from the beginning, it's clear that Mario Millo finds his own inspiration with a one Carlos Santana. Opener 'Horsemen to Symphinity' is one big goosebump moment. Just a gorgeous piece of music. And it never lets up from there. Windchase is more fusion oriented than the laid back symphonic of Sebastian Hardie, and it's that extra energy that propels the band to its greatest heights. Of course, Yes remains a major influence with Windchase. So if the idea of Santana's Lotus meeting Yes' Fragile sounds good to you, then Symphinity is an easy recommendation.

And while here, let's address the elephant in the room: 'Glad to Be Alive'. This has to be one of the most polarizing tracks in all of progdom. With just about anyone else, the song would have to be characterized as saccharine pandering to the masses. But Mario Millo is as authentic as they come, and he wears his emotions on his sleeve. And through his music. If we could put aside our cynicism for a moment, then the beauty and powerful message of the song comes through. Even if you can't bear the chorus, it's still mostly an instrumental track of great invention. For me, it's just one more example of why I find the album so inspirational. 

Ownership: CD: 2011 Belle Antique (Japan). Papersleeve edition that replicates the original cover to the finest detail. It contains one bonus track, a live version of 'Horsemen to Symphinity', recorded in 1998. It's an excellent rendition though it does contain a needless (and mercifully short) drum solo. I know these Japanese mini's often get derided for their sound, but this CD is just splendid. It's a beautiful sounding release. This version replaced the 1992 Crime (Japan) jewel case CD where I was first drawn to the album. 

LP: 1977 Infinity. Online purchase sometime in the 1999/2000 time frame. I definitely wanted the original as a supplement, and the gatefold cover is awesome. Even to this day, the album remains stubbornly cheap and easy to find. Essential purchase for those who want an original prog LP collection, but are on a budget.

2//93; 11/21/11; 2//12; 8/26/21 (new entry)

Celeste. 1976 Italy

Celeste is an album of stunning beauty. Primarily driven by acoustic guitar, flute, percussion, soft affected vocals in Italian, and absolutely slathered in mellotron, Celeste competes with Harmonium's Les Cinq Saisons for most beautiful album status. Just listening to this makes you want to sit atop an Umbrian hill town, sipping a glass of red wine while watching the world go by at the slowest possible tempo. The whole album comes across as one big soft marshmallow pillow. Extract out the most pastoral moments from Premiata Forneria Marconi, Formula 3, and Era di Acquario, and you have Celeste. The sun will indeed shine again. Have faith.

Ownership: LP: 1976 Grog. Gatefold. Yet another album I found at VVV in Dallas in early 1988. My Italian prog education came fast and furious. The packaging is like the musical contents - simple, but effective. All white gatefold cover with lyrics inside the cover and some pencil sketching. 

CD: 2004 Arcangelo (Japan). Papersleeve edition. The CD replicates the original cover to the finest detail. The CD itself is made by Vinyl Magic (Italy).

1//88; 8/26/21 (new entry)

Banco del Mutuo Succorso - Io Sono Nato Libero. 1973 Italy

After two remarkable albums to start their career, could Banco del Mutuo Succorso maintain the momentum for a 3rd? The answer is a resounding YES. The sextet possessed so much talent, in both instrumentation and composition, it seemed that their imagination was endless. But the heroes of the band remain the Nocenzi brothers, who bring an arsenal of vintage keyboards, along with the latest in synthesizer technology. They play off each other as only two brothers could - each knowing what the other is thinking before they think it themselves. If I had to pick just one song from Banco's canon, it would be Io Sono Nato Libero's opener 'Canto Nomade per un Prigioniero Politico' which packs a wallop, and goes in dozens of different directions. Giacomo's powerful operatic voice sends the message home, that yes, we are born free! To take this even further, when someone asks me to play one representative of Italian prog, this is the track I pull out. The album doesn't stop there, as Banco mixes melody, complex instrumental sections, intense passion, and immense creativity. For my tastes, Io Sono Nato Libero is the best Banco has to offer, and considering the stiff competition, that's quite an achievement.

Ownership: LP: 1973 Ricordi. Comes in a rounded corner sleeve with a booklet in the same shape stapled inside. It's a super custom package, something that really stands out. My first copy (1989) was a standard single sleeve - one of those cheap Orizzonte presses from the 80s. My final upgrade came from a clothing (?) store in Phoenix, Arizona while there on business (2000). This store had some records, and in the middle of a garden variety selection was a perfect mint Io Sono Nato Libero! The CD 

CD: 2003 BMG (Japan). Replicates the awesome cover. The sound is a bit bright, but good enough. An album this great calls for both formats.

1989 (first listen); 2000; 2006; 8/25/21 (review/new entry)

Magma. 1970 France

Magma's debut was my introduction to the band (in 1985). I guess I would have that in common with those that were buying new albums in 1970. And I'm sure their reaction was very similar to mine: W....T....F is this? Not only was the world of Magma completely foreign to me, but at that point in my life, I probably had less than 10 continental European underground prog albums. I was determined to understand it. I played it over and over. It was almost impenetrable. I don't think I ever truly grasped what they were trying to do, until many, many years later. But at least I was intrigued enough to continue with the band, and as mentioned on the Mekanik review, I became a Zeuhl fan for life.

Even for Magma, it's clear they didn't really have a direction yet. It was Christian Vander's band, yes, but it was far more democratic than it was to become. The songwriting here is very disparate. Initially Magma was created as an homage to John Coltrane, and this is evident with tracks such as 'Aina' and 'Malaria'. The Magma of the future only truly showed up in Vander's compositions, like 'Kobaia', 'Aurae' and especially 'Stoah'. But jazz is still front and center to their sound, and one cannot help but notice a certain Zappa influence in parts, which was popular in the European underground in those days. Especially with the tightly written charts and melodic songwriting. There's even traces of horn rock here proving that, yes, Magma were a product of their day. But you have to start somewhere, and Magma did so with a bang. They would continue to shape their brand as it were, and ultimately become the icons they will always be - for eternity.  

Magma's debut is really not the place to start if curious about the band. But it remains one of my favorites by them, because it shows another side of their talent. It would have been interesting to see that flourish as well. They tried with Univeria Zekt, but they didn't take off as expected.

Ownership: LP: 1970 Philips. Bought this with 3 other European progressive albums for $4 each at a Dallas record show in 1985. One of the others was AR & Machines - 3. Magma the album is quite the elaborate package. 2 LP gatefold set with flaps to protect the inner sleeve. Hard to imagine a crazy band like Magma to be afforded such a budget back in 1970, but such were the times back then. My copy is known as the "Chappell" version (see label). 

CD: 1988 Seventh. Comes in an old school fat box with a booklet showing the recording details.

1985; 8/24/21 (new entry)

Magma - Mekanïk Destruktïw Kommandöh. 1973 France

The most relentless album ever made. From the opening choppy piano notes and pounding rhythms, Magma lays down the gauntlet for their 3rd opus. They'd been fiddling with the formula since the beginning, and it's here that they (mostly) shed their jazz influences for one of classical and opera. With full choirs and a heavy brass section, along with lead vocalist Klaus Blasquiz going absolutely out of his mind, Magma pounds every sense you possess. Despite what sounds like a slog to get through, Mekanïk Destruktïw Kommandöh is surprisingly melodic. It's a case study on how to use dynamics in what would otherwise be considered an oppressive environment. There's plenty of light touches throughout to build the mood and atmosphere. And all of this is done using their home baked Germanic Kobaian language. But what makes Mekanïk Destruktïw Kommandöh special is not the constant buildup, but rather the most intense climax and release one can possibly imagine. After some 30 minutes of grinding, Magma goes berserk on the title track, burning everything down in flames. The subsequent finale expresses a post-apocalyptic world. Where everything is now in ruins. This is the Zeuhl masterpiece that inspired dozens of musicians worldwide - and for generations to come.

Ownership: LP: 1973 A&M (USA). Gatefold. This was not the first Magma album for me to own (I lucked into the debut prior), but it was the one that convinced me I was to be a Zeuhl fan for life. I purchased this at Forever Young in the Dallas area in the summer of 1986, long before I had a grasp on the European progressive rock underground. So yet again we have an album that shaped my tastes, rather than validated them. In fact, it took a full year to finally hit me. For my final semester in college (fall 1987) I was forced to live in an efficiency apartment. I didn't bring my stereo, just a Sony cassette boom box (which I still have!). I made a handful of tapes for these final 4 months, and this was one of them. There were days when this was all I would hear. The album is housed in a cool black and gold gatefold cover with lyrics and English translations. It's almost impossible to believe that Herb Alpert's label would release something like this here in the States. We're a long way from Sergio Mendes... 

CD: 1989 Seventh. Jewel case. Makes a nice supplement, though offers little more.

1986; 8/23/21 (new entry)

Manilla Road - Crystal Logic. 1983 USA-Kansas

I've referenced this album many times, but never have featured it prior. I bought this album without knowing anything about the band or what they sounded like. It was on the wall of a local record store, and with a cover (and song titles) like that, I just presumed it had to be a killer metal album. I rarely would do that with new and costly albums, but I was drawn to the cover like a magnet. And my instincts proved me correct. Though at first I had some hesitancy. In retrospect, Crystal Logic is a transitional album for Manilla Road. And that unfolds through the album itself. 'Prologue' opens things up promisingly enough with a Rush-like 'Necromancer' narrative bit. This leads to the speed metalish 'Necropolis'. The guitar tone is raw and dry, and Mark Shelton sounds particularly nasal here, even more than usual. The song is almost showtooney to be honest. It's not the darkened heavy metal one would associate with the cover. This leads to the title track, and Manilla Road is inching closer to the sound they would be famous for. And then comes the infamous 'Feeling Free Again'. One last look back at their 70s heritage. With lyrics like "I got a feel for life girl, hey baay-bay I'm feeling free again... I'd never thought it's feel like this, now I'm in love with you". Some real heady stuff there. It's a good pop metal song actually. It just happens to be on the wrong album.

And then Manilla Road became Manilla Road. 

From here on out, it's epic metal in all its glory. The birth of the sound as it were. 'The Riddle Master' is everything you want in an epic metal track. Heavy riffs, sinister vocals, and psychedelic guitar solos. The latter is something Shelton dragged along from the 70s, and never let go of fortunately. He wasn't a modern million-chromatic-scale-notes-per-second kind of soloist. He preferred expressive solos, as were more common in the decade prior. All of Side 2 is excellent, with the uptempo 'The Ram' followed by the dark and eerie 'The Veils of Negative Existence'. You'd almost think Shelton was from Europe with his unusual pronunciations. "Negaahteeve Exeestaahnse". And then comes the closer, the blueprint for epic metal to come. 'Dreams of Eschaton' is why you buy albums that have covers that look like Crystal Logic. It just pounds away with one helluva killer riff and Shelton's echoed and impassioned vocals are the icing on the cake. All this leads to one last awesome solo drifting into the mists of time. Groundbreaking - and the beginning of an era.

Ownership: LP: 1983 Roadster. Single sleeve. Acquired not long after release at Metamorphosis in Dallas, one of the best underground rock stores of its day. One of my most treasured albums. 

CD: 2000 Iron Glory (Germany). The CD adds one bonus track 'Flaming Metal Systems' which was originally released on Shrapnel's U.S. Metal Vol. III. This track sounds like Van Halen's 'Eruption' mixed with speed metal. The label curiously placed it between 'Necropolis' and 'Crystal Logic', which kind of makes sense when reviewing the album and its progression. Otherwise the CD offers nothing more than the lyrics. But it serves its purpose well.

1//84 (first listen); 2004; 7/2/15; 9/28/19; 8/23/21 (review/new entry)

Jumbo - Vietato ai Minori di 18 Anni? 1973 Italy

From my vantage point, Jumbo's third effort Vietato ai Minori di 18 Anni? is the single greatest Italian prog album ever made. And that's quite a bold statement when considering the competition, but one that has held true for me going on 20+ years now. But it wasn't my initial reaction. In the late 80s, with scant few other examples, I had no reference point for Jumbo. It was beyond my grasp. Oh make no mistake, I knew I had something special, and treasured the LP even back then - but it would continue to grow leaps and bounds in my mind. I've written quite a bit about albums such as Semiramis, Alphataurus, and Il Balletto di Bronzo's Ys in the past - even Jumbo's DNA - and they all have that unidentifiable something that makes the Italian early 70s scene so special. There's a randomness to it, yet it's cohesive, dynamic, and heavy. Right from the get, 'Specchio' is designed to make you feel uncomfortable. No one could sing like Alvaro Fella. He's an old folk busker who breaks out into yelling fits when he feels like it. His voice has the classic gravel tone many Italian vocalists possessed back then. 'Come Vorrei Essere Uguale A Te' is the jawdropper here. It's as heavy as any rock piece from the early 70s, while it goes into 100 different directions. A real headtwirler if there ever was one - like Sabbath playing the music of Semiramis. And it has the single best use of trombone in recorded rock history. The word gravitas comes to mind. 'Il Ritorno Del Signor K.' is a fun short sendup of the DNA album. This leads to 'Via Larga' which is classic Jumbo. Starts off in pastoral folk mode, something like Formula 3's La Grande Casa, only for Fella to break off into the punk rock field by throwing a tantrum. 'Gil' opens side 2, and we're off into druggy lala land, with Battiato's VCS3 buzzing about. And Asian tabla's and other foreign percussion to add an exotic vibe. 'Vangelo!' goes deep into the Twilight Zone and combines all of the above. As does the final two tracks. The ideas are endless here, and multiple close listens will reveal a different album each time. It's a mindblowing album to the nth degree, but it does require deep study.

Ownership: LP: 1973 Philips. Arguably the single most important LP in my collection. Once again, it's a time and place discovery. As noted in Il Balletto di Bronzo's Ys entry, Italian prog was still a new dimension for me. One month after that event, I had made the decision to visit every single record store in Dallas. Whether it was in a southern hardcore ghetto, or in a far reaching suburb, I was going no matter what. One of those stores was called VVV, which was right smack dab in the heart of the gay part of Dallas. But I was determined, and off I went for the first visit. What I found when I walked in is exactly what was expected - disco 12" singles, lots of 80s music, and records for the local populace. Then I wandered into the back room. And there, in a lonely bin, was a full selection of brand new sealed imports. Apparently a store in Wichita Falls (NW of Dallas) had gone bankrupt many years ago, and they ended up buying out some of their inventory. It was a goldmine, but I didn't really know what the hell I was doing yet. And I could afford only so much each visit (and I was unemployed - great combo!). Fortunately no one, and I mean no one, went to this store. Prog collectors I mean of course. So I was able to go back many times and continue to research and buy items. There was no internet, so I had to call some folks on the phone. Of all the great finds from that store, Vietato ai Minori di 18 Anni? is the crown jewel. And as noted at the top, it may be my all time favorite LP to own. Comes in a thick textured gatefold with a lyric inner sleeve. It's a beautiful package to behold, and it's still stone mint, just like the day I found it. 

CD: 2001 Philips (Japan). Papersleeve edition that replicates the LP to the finest detail. There really aren't any great CD reissues of this album (and most Italian prog albums in general), so I'm more than happy to own this version.

3/88 (first listen); 8/22/21 (review/new entry)

Trettioariga Kriget. 1974 Sweden

Though Sweden had a healthy psychedelic progressive movement in the early 70s, Trettioariga Kriget (or the more proper spelling Trettioåriga Kriget) added a large dose of frenetic heaviness into the mix, and arguably laid down the ultimate Swedish progressive rock blueprint. Sounding like a weird mutant of Led Zeppelin and Yes, the music starts off in a ferocious manner and never truly lets up. A quartet of two guitars, bass, and drums, Trettioariga Kriget is one of the most exciting rides at the progressive rock theme park. There are no traditional keyboards, but plenty of mellotron to add an eerie feeling to the proceedings. And that gets us to vocalist Robert Zima. He has quite the pipes and can scream with the best of them. But it's the Swedish lyrics that are front and center. When I say Swedish, I mean with a capital S. The language plays a critical key role into the overall sound of Trettioariga Kriget, which is why they were the forbearers of the Swedish retro prog movement that ultimately led to Anglagard, Landberk, and the rest of them. Zima is an unlikely hero in this case, given that he himself was from Vienna, Austria! No matter, he went to high school with most of the band, and clearly mastered the language. It's really hard to pick a favorite, as every track is a 5 star winner, but I'd go with 'Röster Från Minus Till Plus' which encapsulates their overall sound best.

Ownership: LP: 1974 Epic Yet another one of my top LPs, I bought this at a time (1988) when I had precisely zero prog albums from Sweden. It was another album that shaped my tastes for the future. And yes, it was yet another great discovery at VVV. So my stone mint copy remains. I love the simple single sleeve sword cover, and there's something entirely cool about the back cover as well. 

CD: 2004 Mellotronen. Tri-fold digi-pak. Superb edition that contains a full history written by lyricist Olle Thornvall, as well as containing three very relevant prog tracks totaling close to 20 minutes. Essential supplement.

1//88; 8/22/21 (new entry)

2021 Hard Rock Journal Vol. 1 - Complete

Aerosmith - Draw the Line. 1977 Columbia (MC). Thrift shop find (Aug). Draw the Line was a much anticipated album in its day - sold like hotcakes early on - and then after most everyone had a chance to hear it - it was considered a major flop. Much ink has been spilled to explain that the band were on a steady diet of hookers and blow, that they were exhausted from non stop touring, they couldn't stand the sight of each other, and the record executives were relentless in their pursuit of profit. Therefore, Draw the Line was a muddled mess of stitched together ideas and no melodies to speak of. Essentially this was the end of Aerosmith until their remarkable comeback in the mid to late 80s (commercially speaking of course...). So everything I said above is likely to be true, and has been verified by everyone including the band. So what's interesting is to see modern reviewers kind of scratch their head and state - sounds good to me, very much like Aerosmith! They're not wrong, so why the disconnect? Because real time, Aerosmith were still completely living in the past. They hadn't modernized or changed their sound one iota. Even the Stones and the Who had moved on to new greener pastures. Aerosmith were just doing their blues and party rock thing, oblivious to the world around them. In retrospect, that's considered a good trait. Staying true to your roots and not chasing new trends to somehow remain relevant to a younger audience. It wasn't a carefully thought out decision, but the results are more or less the same. As with any Aerosmith album, they managed some good cuts, and some boring ones. They were never the greatest of songwriters to begin with. And there's plenty hear to savor: 'Kings and Queens' is one of their best tracks period; 'Critical Mass' and the title track are also fine. But some 45 years later, the bad rep lingers on. But over time, it will continue to even out.

Molly Hatchet - Flirtin' With Disaster. 1979 Epic (LP). 50 cents at Independent (Aug). They say you can't judge a book by its cover, and I counter that you usually can. But in this case, the cover has no bearing on the music whatsoever. What a waste of a Frazetta painting. And at the tender age of 14, I fell for it. I read about a band called Molly Hatchet (likely in Rolling Stone) with three guitars, and saw that cover, and bought the album sound unheard. I didn't like it all back then and couldn't get rid of it fast enough. Times have changed, my horizons have broadened, so most assuredly I will view this album in a better light, right? Wrong. I like it even less now. I'm more than fine with a southern rock album, but this is really boogie rock. A couple of decent hard rockers, but the rest of this is whiskey swilling music. The cover implies epic metal. The music is closer to The Doobie Brothers or Bachman-Turner Overdrive. What a disappointment really. It wasn't that long ago I heard the debut, and enjoyed it. Hmmm.

*Dust. 1973 Kama Sutra (LP) (1971). Collection revisit (Aug). I've owned this album since 1991 and in those days, I was 100% prog focused, so this album was an anomaly pickup. And, as such, it sort of has languished in the collection for all these years. I'm pretty sure I tried to sell it in the mid 90s through my old Creativity and Chaos lists (for $5!), but there was no market back then. There is now, that's for sure. Music like this has transcended time. As I stated on the Montrose notes, it was pretty rare to find ballsy hard rock from the States during this era. But most groups still had a base in the blues, and that's exactly what Dust brings on their 1971 debut (this copy has a blue label, so it's a second press from two years later). For the most part it's just jammin' hard rock, with marginal tunes, bonehead sex-obsessed lyrics - and killer guitar solos. Perfect. There's one blues throwaway ('Goin' Easy') and couple of other softer pieces, though the latter are well done. And they even get a bit proggy on the near 10 minute 'On a Dry Camel'. Anyway, well known album for hard rock connoisseurs. Easy +1 listen here. 

*Montrose. 1973 Warner Bros. (LP). From Independent (Jul). I remember Montrose in my early days of collecting, but mainly his later solo stuff or, in particular, his band Gamma. I don't recall enjoying any of them too much. But in reading various reviews, it becomes quickly apparent that Montrose's debut is a groundbreaking hard rock album. And after hearing this for the first time, I have to agree. Most hard rock from the early 70s still had a strong blues base (even Sabbath), and a few bands were playing around with prog. Keyboards (organ in particular) were a big part of any hard rock band's setup. Not so with Montrose's debut. At least on this album, Montrose went straight for the jugular. This is hard rock extract - a formula many bands would follow later. It's about high energy rock, and especially "the riff". Had I been a teen in 1973, I'm sure I would have gone completely nuts over this album in real time. As it turns out, I was 13 when Van Halen's debut exploded onto the scene (1978), and it has remained a favorite album ever since. In many ways, Van Halen's debut is Montrose ver 2.0. Ted Templeman was the producer for both, and the Warner Bros. connection was no accident. Van Halen took Montrose's concept to the next level, and predicted the rise of the heavy metal movement worldwide. Montrose weren't the only band doing this in the early 70s, but the ones that were, generally were in the underground like Poobah or that crazy Icelandic band Icecross. Montrose isn't perfect, and they did slip in a couple of boogie numbers to ruin the flow, but for the time and place - yea - this kicks ass. One more Van Halen connection: The singer? "Sam" Hagar. Perhaps you've heard of him?

Ted Nugent - Double Live Gonzo! 1978 Epic (2xLP) Thrift shop find (Jul). I have a soft spot for Terrible Ted, since he was the first major arena concert I ever saw, only a year plus after this live release. It's a strange mix, in that it completely ignores Free For All (very good album), or even his latest release at the time - Weekend Warriors (not so good). The majority of the double album is culled from his fertile 1974-75 period which includes his last album with The Amboy Dukes name (Tooth, Fang & Claw) as well as his famed self-titled debut. It's a very good energetic set, but I'm fine with the few Nugent albums I already own. And Nugent isn't the greatest improviser. 

*Wishbone Ash - There's the Rub. 1974 MCA (LP). This was from an estate saler's warehouse at the end of 2019. More optimistic times for sure... This one continues to get better to my ears. I'm not the foremost Wishbone Ash fan, but the last two that I've taken in with intent to sell have each experienced +1 listens (the other being Pilgrimage that I spoke of about four months ago). For 1974, There's the Rub maintains a surprising psych flavor in the harmonies and song structures. There's also some crunching hard rock as well. And I really do enjoy the final 9+ minute jam. Pity about the cover. Not seeing any great CDs out there, so this one will get to stay for a long time likely. (Jun)

*Uriah Heep - …Very 'eavy Very 'umble. 1970 Vertigo (Germany) (LP). Picked this up in a trade with a local collector (Jun). I'd been on the lookout for a Swirl version for some years, so it was a surprise to see it in a local friend's stash. Not exactly a commodity, as these old Vertigo's are hard to source, even the popular bands. Musically, most of you know this one. The blueprint for the Heep's sound can be found right here. Heavy organ and guitars with David Byron's excellent vocals. Some mellotron and acoustic guitar for the ballads. This version has the original 'Lucy Blues' which didn't make it onto the US release. It's the obligatory 1970 UK blues track, and is the weakest on the album IMO, so Mercury had the right idea by replacing it. This replaces the basic CD I have.

*Tony Joe White - ...Continued. 1969 Monument (LP). Same garage sale as below (May). It wasn't that long ago that I learned of the term swamp rock. It was applied to those Louisiana imposters Creedence Clearwater Revival. I just figured it was a regional term, because CCR isn't anything musically special in my world. Tony Joe White, now this guy is swamp rock. The record went on at 150 grams and came off at 300 - filled with moss and seaweed and mud. I had to wash up after hearing this album. A thick wedgy wah wah guitar, Hammond organ, pounding drums, and White's soulful vocals sounding like Elvis on Quaaludes is a new sound for me. The music is rooted in country blues - with a side of absinthe. It's heavy rock, but in its own way. And look at that guy, is he cool or what? This is the grimiest album in my collection. A must own, obviously.

*Tony Joe White - Tony Joe. 1970 Monument (LP) Garage sale find (May). A most creative man with no imagination for album titles (his next one is brilliantly called Tony Joe White). This album starts off as ...Continued ended. Right back into the mud we go. Overall the album does feel more self-conscious that White now seems to understand what his signature sound is all about. There's a bit of "gather round the campfire and let Uncle Tony Joe tell ya about a little lady down in New 'Awlins...". All the same, there's plenty of sludge to bathe in here, and it rates out about the same. What a great find, this Tony Joe White is.

*Rainbow - Difficult to Cure. 1981 Polydor (LP). Thrift shop find (May). I've been hoping to find any of these early 80s Rainbow albums, and I finally got one with this latest haul. I had originally bought this album real time. According to RYM, it was released in February, which would have been the second semester of my sophomore year of high school. That rings true. By this point I had already owned Down To Earth (also purchased when it came out) and Rainbow Rising. Over time, the former didn't make much of a mark (long sold off), but the latter remains one of my all-time favorite hard rock albums - a brilliant work. When trying to recall my mindset of the era, I'm pretty sure I enjoyed Difficult to Cure on initial impact, and it would have been sandwiched between the other two in quality. For whatever reason, my interest in traditional hard rock soured throughout the 80s, as my heart and mind were more dedicated to the current metal movement, as well as my first forays into deep diving European prog rock. So Difficult to Cure didn't make the cut either. Hearing this again for the first time in probably 35 years, my perspective towards hard rock has long been altered to the positive. There are two cover songs here, and they are Rainbow's half-hearted attempts for radio airplay. The rest, all originals, is just killer hard rock, and out of time for the 80s. This is mid to late 70s hard rock all the way. Side two in particular is fantastic. And even the Beethoven Ninth cover, usually a trite groan-worthy exercise, has a superb instrumental mid-section written by the band. All-in-all, Difficult to Cure ended up being a +3 listen. It will be a long time before this one goes again. If ever.

Steppenwolf - For Ladies Only. 1971 Dunhill (LP). Thrift shop find (May). I know surprising little about Steppenwolf. Like everyone else, I really enjoy 'Born to Be Wild', arguably the genesis of heavy metal music. But mostly what I've heard is a straightforward rock band, with out of tune rough vocals, typical of its era. A lot of bar and boogie, and not a lot of invention. The late-era For Ladies Only LP fits that description - unfortunately. There are a few good moments here, just enough to take it to an average rating. I'll still pickup the others as I see them. As for the packaging, the less I say about the inner gatefold (and insert), the better. Jeez.

*Grand Funk Railroad - We're an American Band. 1973 Capitol. Yellow vinyl (LP). One of the odd albums out in the funk-soul estate sale (Apr). I guess the band does have funk in the name after all... I thought GFR had already jumped the shark by this point, as the title track is fairly ubiquitous here in the States, and somewhat annoying. But I was surprised to learn that I'd never heard anything else off this album. And it's mostly aces too. The addition of Hammond organ is exactly what the band needed at this point. There's no wild jams as in the past, but the songwriting has improved and there's some great instrumental guitar as well. Easy keeper.

AC/DC - Back in Black. 2003 Epic (CD). Same as below (Mar). If pressed to name my favorite album by AC/DC, it would likely be Back in Black (1980). Which isn't the same thing as stating I think it's great or anything. Just that it's probably their most accomplished. This is the album that introduces Brian Johnson as the lead singer replacing Bon Scott after his untimely death. Johnson sings in a similar manner to Scott, but he's better at it honestly. Back in Black has many hits that long time hard rockers will be familiar with. AC/DC are what they are. I don't think I'll ever find anything that's worth keeping for the collection, though I'll always keep an eye out for their LPs. As with Let There Be Rock, this is an excellent reissue released in a tri-fold digipak and informative liner notes.

AC/DC - Let There Be Rock. 2003 Epic (CD). Garage sale find (Mar). All these years later, and I still don't understand the allure of AC/DC. I don't think I ever will. When I was first getting into metal in 1979 and 1980, AC/DC were considered one of the landmark groups. Most of my peer group loved them. I have no idea why. In retrospect, AC/DC were very much a product of the Australian rock scene of the 70s. Boogie rock was the name of the game downunda, and AC/DC were a part of that movement. A bit more amped up - and certainly more energetic than most -  but compared to a band like Buffalo (a group I wouldn't hear for another 20 years), AC/DC were fairly lightweight. Never could go for Bon Scott's vocals either. I find them annoying. It's been many a year since I sat still for a classic AC/DC album, and Let There Be Rock (1977) defines that status as well as any of their albums. Nothing moved the needle on this listen. I'd call it average hard rock at best. Excellent reissue BTW. Housed in a digipak with full liner notes. 

*The Five Americans - Ignert Woman / Scrooge. 1969 Abnak promo (SP). From the RT collection (Feb). I don't know anything about The Five Americans despite the fact they have a lot of recorded music. The A side is excellent hard rock with great guitar. Scrooge is a bit more groovy, with piano and sax. Still a pleasant period piece. Yellow vinyl. You'd think something like this would be rare, but it isn't. 

* - Keeping for the collection

2021 Classic Rock / AOR Journal Vol. 3 - Complete

*Santana - Festival. 1977 Columbia (LP). Thrift shop find (Aug). A surprisingly elusive album in the wilderness. I owned this album back in college, but unlike Amigos (which I featured on UMR), decided to sell it in the mid 90s. Even when I bought the box set of Japanese mini-LP's (one of the treasures of my CD collection), the albums skipped from Borboletta to Inner Secrets. About a year ago I had a chance to revisit Moonflower to great results. Would I have a similar experience here? And the answer is a resounding yes. While it doesn't have a jaw dropper like 'Europa' (what does?), Festival is more consistent. The first three tracks are Santana at his absolute best, mixing in his purposely naïve view of the world with molten licks. And so it goes, with his usual mix of ethnic and harder rocking tracks. He pretty much let go of the funk that permeated Amigos. There are two tracks that are too Vegas-y for me 'Give Me Love' and 'The River', which still leaves 36 minutes of great music. Easy keeper and glad to have it back. Always liked the cover as well.

Manfred Mann's Earth Band - The Roaring Silence. 198? Warner Bros (LP). Found this two years ago at a garage sale (2019), before I was detailing these kind of discoveries. Once I made the decision to keep it, I knew this day would be coming. I just didn't know when. These were exactly the type of LPs I didn't keep 25+ years ago. But I had made some room in the collection for additions, and this was "good enough". Now it's at the bottom of the ranking. But should it be? This is a really odd album. First released in 1976 (the one I found is a tan label, so it's likely to be from the 80s), I remember hearing 'Blinded by the Light' back then, and thinking it was a really cool track. I still do - such a bizarre song to begin with considering its swirling organ and synthesizers, and crazy vocals. I've not heard Bruce Springsteen's debut album, but Mann mined it for two megahits - the other being 'Spirit of the Night' which was appended to later editions of this album (like mine). But what of the rest? 'Singing the Dolphin' (a song by Mike Heron) seems to be Mann trying to channel Camel, and failing miserably. What a dull song. Contrarily, 'Waiter, There's a Yawn in My Ear' is a killer instrumental prog track, something I would have been happy to get a whole album of. Side 2 is more mixed, but still brings the goods like 'The Road to Babylon' and 'Questions'. A very good album but ultimately I decided to let it go. (Aug)

Ambrosia - Life Beyond LA. 1978 Warner Bros (LP). Another one of those anomalies in the RT collection (Jul). Ambrosia are practically the definition of what we now call Yacht Rock. A sophisticated style of pop designed for the wealthy in-crowd. No sweat and dirt allowed here. Ambrosia's background is one of a prog band, so they do bring the instrumentation and production qualities with them - along with a middling set of FM/AM radio tunes. The big hit here is 'How Much I Feel', which you will instantly recognize once you hear it. It has creepy machismo lyrics into the bargain. I don't feel like typing them out, but find the last stanzas... Good for what it is, but this was too deep in the catalog for me. 

Charlie - Lines. 1978 Janus (LP). Thrift shop find (Jul), different one than the other two. I've been looking for some Charlie in the thrift bins since I started this. Mainly the 70s variety. When I do find them, they are trashed, so it was nice to see a minty copy last week. Charlie were one of the early bands I was first exposed to when listening to FM radio in the mid to late 70s as a preteen. I remember some of their music having cool riffs, though obviously not enough to pursue buying a full LP. Whatever the case, this album is devoid of anything hard rocking. This is pure unadulterated FM soft pop rock. AOR at its most obvious and pandering. A couple of decent cuts for sure, but I was disappointed. I recall none of this. I'll try their first two albums as well (when I find them), curious what I had heard from my youth. I do like the model on the cover, though. This gal, whoever she is, represented the sexy female ideal of the late 70s.

Rolling Stones - Black and Blue. 1976 Rolling Stones (LP). Thrift shop find, different than the below (Jul). Not a big fan of the Stones as it is, but I figured something from this period would have no chance. Boy was I right. This was worse than I expected, and that was a very low bar. Talk about a "throw in" album. Contractual obligation and all that. I guess the guitar audition aspect is its only redeeming factor.

Rolling Stones - Goats Head Soup. 1973 Rolling Stones (LP). With the above (Jul). Earlier recording and a little bit better than the above. Still there's nothing here that I would want to return to. Side 1 is average and Side 2 is disappointing. The big hit here is the ballad 'Angie', a song I could go a lifetime without hearing again. Nice gatefold with the stock card insert. It'll sell.

Slade - Nobody's Fool. 1976 Warner Bros (LP). With the Stones albums above (Jul). Slade are one of those bands that I've heard all of my life but never actually heard, if that makes sense. Meaning, I know some of their songs, but never bothered to hear a full album. Quiet Riot may have had something to do with that... Were Slade just a hard rock band, this would have been more enjoyable. For that style they are reasonably accomplished. But they were a glam band in the end, and they mix in other genres (like 50s rock n roll). They have their audience, and they play to it. That audience does not include me. Average on the whole. 

The Who - Who Are You. 1978 MCA (Canada) (LP). From an estate sale (Jul). It's been forever and a day since I heard Who Are You. I'm thinking 40+ years ago. Inexplicably I still appended a rating of "good" on it (I do not usually rate albums that I haven't heard since college or before). Well, it was a pretty accurate assessment, though I'd say I was being a bit generous. I hear this album as average at best, typical of the UK mega stadium bands of their era. The title track being the most recognizable song, and frankly, the best of them. 

***The following were all from the same thrift shop find (Jul)

Duane Allman - An Anthology. 1972 Capricorn (2xLP). This is a very nice package with a large booklet dedicated to the memory of Duane Allman, who had passed away in a motorcycle crash only a few months prior. It's a unique compilation in that it features Allman playing on other artist's releases - not just his own. In reality, this could have been called A Blues Anthology, as the majority of the songs (including The Allman Brothers) are in that vein. Obviously that was Allman's comfort zone as well. As such, it veers away from my own interest in Allman's work. But I'm glad I had a chance to check it out.

Fleetwood Mac - Kiln House. 1970 Reprise (LP). Finally, a new-to-me Fleetwood Mac album. But unfortunately I'm already pining for Stevie Nicks and crew. Wow - I really don't like this album. It has more in common with Bill Haley than it does anything from the 60s and 70s. Which is fine if you enjoy that sort of thing, but I don't. Kirwan doesn't get a chance to shine much here, though the one saving grace is his composition 'Tell Me All the Things You Do', the album's easy highlight. Where is Bob Welch when you need him? Great cover belies its musical content. 

Van Morrison - Moondance. 198? Warner Bros. (1970) (LP). 80s reissue (has the bar code) of Van Morrison's 3rd album from 1970. The only track I recognized was the title song, which I've always enjoyed. Has an odd lounge angle I find appealing. The rest? I just don't get it. But I don't get Bob Dylan either. I find his voice somewhat irritating and the music dull. This is considered one of his landmark works, so clearly it is I who remains in the dark. Others in my shoes would no doubt call it overrated or hyped, but that's awfully self-absorbed. No it's not overrated. It's that I disagree with the popular opinion on this title (and artist likely).

Electric Light Orchestra - Out of the Blue. 1977 Jet / United Artists (2xLP). Out of the Blue was yet another mega seller when I was first getting into FM radio in 1977. I didn't think much of it back then... and I still don't. A sprawling double LP that sounds like a mutant baby of Queen and Supertramp, with the Beatles somewhere in the DNA hierarchy. This weird strain of late 70s British AOR music that inexplicably was more popular here than in their homeland. A couple of good songs, but this one isn't for me. I'll hear every ELO as they come to me, but so far I'm not finding myself enjoying any of them.

Dire Straits - Brothers in Arms. 1985 Warner Bros (LP). Their most famous album, Brothers in Arms is actually Dire Straits' 5th release. I've never really understood the appeal of this group, though one could state they were the antithesis of the outrageous New Wave and Hair Metal bands that were proliferating at the time. How 'bout some good old fashioned unassuming rock? It's certainly inoffensive enough with no real highs to call out. A Dave Matthews Band of their day. Kind of blows by without notice, though of course I recognize all the megahits here that have been inculcated into our collective brains. 

***end of sale

* - Keeping for the collection

The Collectors. 1968 Canada

One of the stranger albums from the psychedelic world, Vancouver's The Collectors proves that major labels were willing to pull out all the stops to attract an ever mind-expanding audience. This is haunting, trippy song based psychedelia at its best. Wonderful fuzz, vintage organ, flute, and mournful vocals. The highlight has to be 'Howard Christman's Older', which features some of the craziest lyrics you'll ever hear from the 60s. One even wonders how a group could compose such an odd song? The only downside is that the side long track 'What Love (Suite)' is way too long for what it offers. And the experimentation here is almost too much. It's as if they are trying too hard to shock, when they already managed to do that successfully on the other side. Albeit, in a much more subtle way. Certainly The Doors are an inspiration for a lot of this album, though it trips out from there. Had they cut the side longer in half, and added one or two more tracks, this would have been in the monster territory. As it stands, we'll call it excellent.

Ownership: LP: 1968 Warner Bros-Seven Arts (USA). Online acquisition from 2014. Single sleeve cover with really cool, San Francisco psychedelic-era artwork. This had fallen to the bottom of the weedout stack. Obviously I missed the sublime nuance here. This is going nowhere. Nice originals can still be had for cheap. It must have sold well, as there are many pressings. CDs are more scarce.