Supersister - Pudding en Gisteren (Pudding & Yesterday). 1972 Netherlands

As noted on this blog already, I consider Supersister's debut Present from Nancy one my Top 50 albums, maybe even a higher bracket. But each subsequent album moved away from the Canterbury core of that brilliant work, and by this 3rd release, Pudding en Gisteren is embracing the Zappa world of silliness more and more. Which resulted in a -1 listen this go round. Having said that, I wouldn't want to consider my collection without Pudding en Gisteren, but the thrills per minute are substantially diminished. For me those highlights include the first half of 'Judy Goes on Holiday' and portions of the side long title track, which maintain the Soft Machine II motif that make Supersister so enduring.

Ownership: LP: 1972 Polydor (UK). Die cut gatefold. My first copy was the 1977 single sleeve press (picked up in the late 80s) which was replaced by this version. I bought this LP at ProgFest '95 on the advice of a collector friend who said something along the lines of "you rarely see it with a clean cut like that - buy it". So I did. And yes, this is a perfect cut, with no tears which we see sadly too often. I also had the 2 for 1 CD that included the non LP parts of Superstarshine Vol. 3, but there's just not enough great material there to get excited about. And the CD offers nothing more, so off it goes. As an aside, I do believe this UK LP version should be referred to as Pudding & Yesterday, as that's what the labels say. But changing it on Discogs would likely result in a verbal war. Not worth it.

Raw Material. 1970 England

Raw Material are one of the reference groups that define, for me at least, the English post psychedelic progressive rock sound. At the turn of the decade, England was arguably at the peak of creative thought in the world, and that mindset permeated throughout the globe in a very short time frame. The island was crawling with musical talent, each attempting to do more than the other - similar to what would happen 2 to 3 years later in Italy. The important thing to understand about this era is that the music itself is at the beginning of its journey, so it's nowhere near the Tales From Topographic Oceans logical conclusion. As such, music like this has aged better if one takes an historical outlook, rather than view every album as all things equal. With Raw Material's debut you get the classic mix of psychedelic pop, jazz, and yes, what would later be known as progressive rock. A very enjoyable album where the attention can be focused on the songwriting more than the instrumental dexterity.

Ownership: LP: 2020 Sunbeam. 2xLP. Gatefold.What an absolutely outstanding reissue, and the way you wish all were done. Comes in a superb gatefold sleeve design (the original was a single flapback sleeve), with a booklet chock full of bio details, and a replica promo poster. Even better is that the second disc includes all three 45s's (6 tracks) that they released from this era, plus a full album that I was completely unaware of by a pseudonym called Sounds Progressive. This latter album, titled Kid Jensen Introduces Sounds Progressive, is essentially Raw Material playing the cover tunes of the day. Perfect for bonus material. 

This LP replaces the Akarma CD that was my introduction to the album (2004). 

4/17/04; 10/15/21 (new entry)

2021 Metal Journal Vol. 1

Queensryche - The Warning. 1984 EMI (CD). Thrift shop find (Oct). I embraced Queensryche at the very beginning with their brilliant Judas Priest styled EP. When word surfaced that their first full length was going to be more "progressive" I could hardly sleep I was so excited. In 1984, progressive rock mixed with metal was still more of a fantasy than a tiresome burden. After buying the LP on Day 1, I was so very disappointed. Some years later I ditched it. OK, there it is on the shelf, let's try it again. Hey, this is pretty good metal actually. Not progressive of course, but not too far off the NWOBHM sound they had perfected a year earlier. Geoff Tate was (is, I suppose) a great singer. The production definitely lacks oomph here. I'm not going to keep this - just have way too much like it - but better than I remembered. 

Shotgun Messiah - Second Coming. 1991 Relativity (CD). Thrift shop find (Oct). Shotgun Messiah were essentially a Swedish band emulating the Los Angeles glam movement of Poison, Ratt, Skid Row, and the rest of them. Definitely has a fine groove and cool sounds, but not enough to transcend the genre, if the genre could be transcended at all. 

Heavy Pettin - 4 Play. 2020 private (CDEP). Thrift shop find (Oct). And it was signed no less. I wonder how that happens? It's brand new (literally), obscure, and it's signed - and here it is in a thrift shop. I remember Heavy Pettin from the 80s heyday, but never bothered to pursue beyond that. The Scottish based group were a mix of NWOBHM and glam metal - definitely on the lighter, more feminine side of the movement. And this comeback album finds the band playing in fine form, with four new tracks in the older style. Not something I need to keep, but worth a spin for certain. And quite hard to find here in the States. 

*Stride - Music Machine. 2001 private (CD). Thrift shop find (Oct). This is the debut from a band that is most known for their Sensory release a few years later. But at the beginning the Houston, Texas based group were an instrumental prog metal / progressive rock hybrid. Typically I find albums like this trivial, but Stride proved to be good songwriters, and there's just enough here for me to qualify it as unique.

*Attacker - The Second Coming. 1999 Sentinel Steel (CD) (1988). From Independent (Oct). About four years ago I wrote about Attacker's debut, and gushed about its contents. And honestly, The Second Coming might even be better than the debut. 1988 was primetime for creative metal, and The Second Coming doesn't disappoint. They have a new vocalist who can high pitch it with the best of 'em. Picking up a bit of Helstar here actually. The older I get, the more I'm really appreciating what they call classic USPM, or US Power Metal. If you had asked me a couple of years back if I liked power metal, I would have flatly stated no. But I was thinking of the European variation, which is much different. There it's more speed metal with gang choruses. Here it's more about the second generation of classic Judas Priest. They really should have more distinct genre names, because they are so different. In any case, this is a fantastic reissue chockful of liner notes, old reviews, photos, memorabilia, and three bonus tracks (demos, but slightly different than what was released). 

*Attacker - Soul Taker. 2004 Iron Glory (CD). With the above (Oct). At the time of release, it was a comeback album. And most metal comeback albums in the 2000 decade were a huge disappointment, many trying their hand at modern trendy styles such as Nu and Groove. Not here. Attacker picked up where they left off. In fact they brought back their original vocalist Bob Mitchell who's a real shrieker in the King Diamond mold. Excellent 3rd release from a USPM band that still flies under the radar, even to this day.

Exodus - Fabulous Disaster. 2019 Century Media / Combat (LP) (1989). Turquoise. Trade from What's Left (Aug). I go back to the beginning with Exodus, having purchased Bonded by Blood upon release (1985). I've always had a yin/yang feeling towards that album. Dutifully I picked up Pleasures of the Flesh on day 1 as well (1987), but my interest in Exodus was waning and it went along with Bonded by Blood. And I stopped there. Fabulous Disaster is their 3rd album, and by that time I had moved into a different direction with metal. So two albums in a row with Disaster in the name (the other Molly Hatchet's Flirtin' with Disaster). I fear to say it's also predictive. Well, Fabulous Disaster isn't so bad. It's definitely what I would call good, but for 1989 this is some basic stuff. The riffs are boring to non-existent, and listening to Souza bark all over this is tiresome. From what I understand, this was their big seller, having made a mark on MTV's Headbanger's Ball. When we look at the Big 4, my tastes have always gravitated toward Metallica, whose first four albums are brilliant IMO. Slayer comes in with a highly appealing raw sound, that penetrates to the bone. My appreciation of Megadeth has gone significantly up in recent years, as I enjoy their quirky jazzy nature. And then there's Anthrax, the dumb kid in the class. Exodus is Anthrax in this analogy. The Bay Area was really hopping in the late 80s with bands like Testament, Death Angel, Heathen, and Forbidden Evil - all of them way more interesting than Exodus. Not sure why the band never seemed to progress. Comes in a nice gatefold cover, which the original did not.

Reincarnate - Take It or Leave It: Demos & Rarities. 2020 Splattered! (LP). Trade from What's Left (Aug). Not really a commodity but a new archival release from an unknown 1982 NWOBHM English act who managed to put out one 45 in their career. This set includes that single plus 4 other demo tracks. I picked this up in trade after hearing the single. I should have done more homework. The single is excellent for the style, but the demo tracks are from a wobbly old cassette tape, and are at best bonus material. Cut at 45 rpm, there isn't enough material here to warrant a full release. In the not-so-distant-past, I may have held onto this, but I can't justify it today. Comes with obi strip and a small poster.

*Helloween - Walls of Jericho. 1986 Combat (LP). From Independent (Jun). This US press came a few months later than the German original. The only album I've ever owned prior by Helloween is the next one Keeper of the Seven Keys Part One (on CD). Over time, I did tire of it, and sold. But I was informed long ago that Walls of Jericho is much more raw and unpolished. Which is more appealing to me. And that's exactly the case. There's nothing too revelatory here, and there aren't any great riffs, but I found myself drawn to the overall sound. I kind of like Kai Hansen's shrieking vocals, as he attempts to outdo Rob Halford. No such luck, but it's fun to hear him try. Hence, they added a more seasoned vocalist after this. 

Exciter - Long Live the Loud. 1985 Combat. From Independent (May). I had heard the Canadian band Exciter (named after the iconic Judas Priest song) real time while in college, but their brand of metal didn't capture my imagination back then. I was pretty excited (so to speak) to hear this one, especially after finally getting my ears around Killing Technology. No bueno. This is what is technically known as speed metal. It's not heavy at all. It's a scratchy light guitar sound with screaming vocals. There's absolutely no bass - no heft whatsoever. Unlike Voivod, there are no riffs either. So it just kinda lays there - every track going 100 MPH without melody or chord progressions. It's not terrible or anything, it's definitely what I would call "good", but I'm not drawn to any of the contents within. I'd still be willing to hear anything they have put out, but not going to spend "wall money" on them. And how about that cover, eh? No stereotyping here of course...

Malice - In the Beginning. 1985 Atlantic (LP). From Independent (Apr). When researching In the Beginning, you won't get too far without reading that Malice are very much patterned after Judas Priest. After hearing the album, I was strangely reminded of... Judas Priest. It's just that obvious. If I were to put what era of Priest, I'd suggest British Steel. Relatively generic for the era, but definitely well produced and played. There's just enough meat on this bone to keep for the short haul. This was the kind of metal I wasn't pursuing in real time, as it seemed rather cliché by that point. It won't be too long that I'll be thinning the collection herd again (after we finish the boxes of other stuff we have here). I suspect this will be an early target. Whether it grows in stature or not, that remains to be seen (ed: I sold it not long after).

---2020

Rogue Male - First Visit. 1985 Elektra (LP). From Indepedent (Nov). The opening track 'Crazy Motorcycle' sounds like classic Motorhead. This is followed by 'All Over You' which recalls classic Saxon. And there's your story line: Motorhead meets Saxon. So it's more on the simple side of British metal. Which is fine (I enjoy both bands from their early periods), but the problem here is that the genre had moved on by leaps and bounds by 1985. This kind of album would have had impact in 1981. Apparently the critics loved it (of course they did...), but the buying public wasn't impressed. Good album for what it is, but not something I need to hold onto. 

*Loudness - Lightning Strikes. 1986 ATCO (LP). Finding any kind of heavy metal at a thrift shop is pure luck. If the workers aren't taking them out the back door, then the first person who sees it - buys it. And that's probably what happened for me in this case (Oct). But it's hardly a great score. Probably could find one at a record store for $4.99. I'm telling you - that's just no fun! "Roudness" was a known quantity when I was in college and I bought Thunder in the East upon release. I was very disappointed and traded it back not long after.  Not recalling that album at all, Lightning Strikes is really quite good - but it's not really a metal album, which is probably why I was disappointed at the time. What it reminds me of is early Van Halen - a high energy hard rock that borders heavy metal. In this light, the album works better. So yes, I'll go ahead and hold onto this one for now.

*Great White. 1984 EMI (LP). Thrift shop find (Oct). Talk about an album I was excited to find... for resell. $15 markup easy. But I never in a million years thought I would like it! Great White were one of the emblematic bands of the hair metal scene and I just figured the music would follow suit. That is to say, music for late inning teenage girls looking for trouble, and the blend would be a mix of insincere ballads and obligatory party hard rockers. But like Motley Crue before them, Great White worked hard for their success, and this debut shows the band laying it all out there to judge. There's a great energy here that holds up well 35 years later. And it's also a bit gritty. It appears the image followed the success, but didn't instigate it. Pleasant surprise.

* - Keeping for the collection

Transit Express - Opus Progressif. 1976 France

Opus Progressif is Transit Express' second album and sees the band move closer to the Mahavishnu Orchestra jazz rock center. David Rose's violin plays a key role in their instrumental sound, with guitar and keyboards providing ample solo backup. The rhythm section, as to be expected, is lively and moves the compositions forward at a rapid pace.

Prior to the CD reissues coming out in 2001, I hadn't heard any of the Transit Express albums. I bought them all at the same time, and recall the debut Priglacit as the highlight. For whatever reason though, I'm most familiar with their 3rd album Colours Naturelle. On that one there's a distinct move towards Zeuhl that I find refreshing. I hadn't heard Opus Progressif in that 20 year span since and would conclude it's a bit more typical of the time and place, though no less satisfying. This album was released in the US by the Peters International label, with a different cover (arguably better honestly). Despite this, I've never encountered it at a record store oddly enough. I think the title is a misnomer, as it's more jazz rock/fusion than progressif rock, though there's enough of the latter to categorize it as such. 

Ownership: LP: 1976 RCA. Single sleeve. Just as with the CDs I mentioned above, I also purchased all three Transit Express' on LP on the same day (2013). 

Former ownership: CD: 2001 Piano Bass.

The revisit of this and Colours Naturelle the day before (already in this blog) tells me that the LP is all I need, as the CD reissues on Piano Bass offer nothing more. Interesting to note that the French reissue label used the US cover for the CD.

2001 (first listen); 10/15/21 (review / new entry)

Travelling - Voici la Nuit Tombee. 1973 France

Perhaps the most accessible of the Futura RED label bands were Travelling, a keyboard-based trio that probably represented best what the label was about: Jazz, rock and an experimental inquisitiveness. Their sole album is a combination of the early Canterbury movement circa Soft Machine 2 - the continental equivalent in Supersister - and piano jazz / avant-garde classical/electronics. In fact, the 18-minute title track has all these elements which include Wyatt-esque vocals (however, here in French), fuzz bass, fuzz organ, piano jazz, complex meters and echoed early synthesizers/machines; a contrast in tight ensemble playing combined with loose free improvisation. The other five shorter tracks are really just the same though more contained within the environment of a small composition. The closer demonstrates a melancholic sadness not displayed elsewhere.

Ownership: LP: 1973 Futura. Single sleeve. Received in a trade from a well known European dealer (1994). 

CD: 2000 Mellow (Italy). Jewel case release with a short review.

1994; 2/19/01 (Gnosis); 10/13/21 (new entry)

2021 Folk / Country Journal Vol. 1 - Complete

Fairport Convention - Full House. 1970 A&M (LP). I was hoping to find Fairport Convention in the RT collection (Oct), but it doesn't seem he was into them much. We're not done emptying his house, but this is the only one I've found so far (BTW he gets back most of the best stuff (the folk albums primarily) - and our final task together will be to organize them all neatly). Despite my enthusiasm on digging this up, it's really not to my taste at all. Way too British folky for my interest. Really too bad, as I love the gatefold cover. Oh well. A&M sure did have some unusual albums on their label back in the early 70s.

Amazing Blondel - England. 1973 Island (LP). From RT (Jun). This is the second Amazing Blondel album I've heard in the last two years. From 1972, England is a classically influenced Baroque folk album. Pretty far from my interest area. But for those that feel nothing good has come out since the 1750's, this would be worth checking out. I do kind of like the closing pipe organ / flute piece. Great cover. Should have been a prog album...

*Patric Copalello - Daybreak. 1977 Kerygma (LP). From a thrift shop in Prescott Valley, Arizona (Mar). Mostly the album is to be avoided, a Dylanesque Christian album at best. But of course there's more to the story. 'Always Get To Thinking 'Bout Her' has mellotron, with strings throughout. Nice song as well. 'Diamonds of Death' is the album's only true choice cut - psychedelic to the core, with great guitars and madcap vocals. I'm tempted to keep the LP because of this track. The title song has some nice flute and is a nice composition. 'Ten Years or So' has some decent psych guitar in the middle that salvages it somewhat. 'One World' is the other psych track, also very good, though not at the level of Side 1's closer. The rest falls way outside of my interest area. 

---2020

Robbie Basho - Song of the Stallion. 1971 Takoma (LP). Yet another great thrift find, this time from a shop in Cheyenne, Wyoming (Oct). Basho = Money. Pretty far outside of my interest zone, with acoustic guitar and very odd vocals. He has a rabid following apparently with the American Primitivism crowd. The overall sound is definitely kvlt music. I love finding outsider music such as this, even if not to my taste. 

Amazing Blondel - Fantasia Lindum. 1971 Island (LP). Thrift shop find (Oct). Not quite sure how this band is lumped in with the progressive rock crowd. Though to be fair, this might be the only thing I've heard by them. It's English folk music with a Baroque edge. I'm sure my Dad would have loved it. Not for me though.

* - Keeping for the collection