Tetragon - Nature. 1971 Germany

Tetragon were formed out of Trikolon with the addition of a new guitarist plus a drummer replacement. The music formula largely stayed the same, and this is most evident on the 16 minute Bach rendition opener 'Fugue'. It's jamming the classics essentially. Tetragon began to carve out their own identity on 'Irgendwas', a fascinating interplay with plenty of rhythmic organ against heavy guitar soloing. This brings back the other Trikolon influence, that of Brian Auger. The title track also has a cool jazz undertone that once again allows for extended jamming. I've had it in my mind for many years that Tetragon were a bit more composed, but this revisit confirms that the group had many great ideas but didn't take the time to arrange them before diving into improvisation mode. It's a difficult album to pigeonhole. It's not jazz rock or fusion; it most certainly isn't Krautrock; nor hard rock. It ultimately falls into progressive rock, though it's not as compositionally sophisticated as that may imply, though the individual players most certainly are. Last night's listen resulted in a -1, though it's still in the keeper category.

Ownership: CD: 1995 Musea. Purchased new upon release. This was my introduction to the album some 28 years ago. Jewel box release with the usual excellent historical liner notes. Also includes one 14 minute unique live track that is very similar to the album itself (and sounds great). Original LPs have always been super expensive since I started collecting in the 80s. For music such as this, a CD is more than adequate for me. 

3//95; 4/25/10; 4/16/13; 8/29/23 (new entry)

Flotsam and Jetsam ~ USA ~ Phoenix, Arizona

High (1997) 

As noted below: "These are the type of albums I hope to find in a thrift bin CD pile." And here we go! I only knew the first two F & J albums, and I documented Doomsday for the Deceiver below. High is their 6th album released at a time when thrash was completely out of vogue. As such there are some trendy groove metal insertions. Eric AK isn't screaming anymore, sounding more like Hetfield during this era. Plenty of wah wah pedal bluesy solos and stoner rock moves. Back cover shows song titles using famous band logo fonts (Iron Maiden, Judas Priest, Metallica, Van Halen, etc...), but it doesn't appear the music matches the style of these bands. In any case High is fairly ordinary heavy metal, an all too common problem for the late 90s. It's good, but nothing more.

Source: 1997 Metal Blade (CD)

8/29/23 (review)

Doomsday for the Deceiver (1986)

My only exposure to Flotsam and Jetsam real time was No Place For Disgrace (1988), an album I picked up and enjoyed but it never bowled me over. I kept it for a long time before ultimately letting it go. I wouldn't have done that today, but it's not a big deal. Only in the last few years did I finally obtain a CD of their debut. Of course I knew who the band were back in the day. If you were a thrash metal fan who didn't? As any dedicated fan knows, this is the album that bassist Jason Newsted debuted on. Within that same year he would famously replace Cliff Burton in Metallica after he died in a tragic accident. But when this debut album was released, it was a rather obscure and typical Metal Blade thrash release, of which one a week were coming out back then. Doomsday for the Deceiver is meat and potatoes thrash. It's not particularly heavy for 1986, certainly nowhere near Master of Puppets. The dual guitar lines are crisp and melodic, and Eric A.K. breaks glass with the best of them. Newsted does show his massive bass chops here, and at times it seems he's the lead instrument. The guitar solos are a slight cut above, as Flotsam and Jetsam always had an ear for melody. As the years roll by, I do get a nostalgia pull out of this era of thrash, so I enjoyed a +1 listen.

This along with No Place are still the only two albums I've heard by the group, and they are still around to this day. These are the type of albums I hope to find in a thrift bin CD pile. Or vinyl in some cases, but of course they are now price prohibitive if paying retail.

Ownership: 1986 Metal Blade (LP). Lyric inner bag. 

9/1/16; 12/23/22 (review)

12/23/22 (new entry)

Blossom Toes ~ England

If Only For a Moment (1969)

Blossom Toes are a relatively well known band that released a pop psych debut. They pivoted on their sophomore effort to a much heavier rock sound. To better results for this listener anyway. This becomes evident right away on the opener 'Peace Loving Man', which maybe should have been titled 'Violent Loving Man' considering the wicked guitar soloing tone and vocal approach. 'Kiss of Confusion' follows with a more progressive rock slant adding a jazz undertone as well. And here we get our storyline - the rare time when psych prog is a reasonable description, though certainly more slanted to the former. B2 is a subtle progger that rewards the patient listener. Other highlights include A3 and B1. I'm not overly fond of B3, and A4 is a little slow. Closing track has many great moments but the vocal portions tend to drag. Hard album to evaluate, but certainly a keeper, especially considering the CD adds seven bonus tracks, including a rare single (that demonstrates both of their distinct styles - b side is great).

Ownership: 2019 Sunbeam (CD). Digipak. Full liner notes and the aforementioned seven bonus tracks. 

8/28/23 (acquired / review)

8/28/23 (new entry)

Nektar ~ England

Journey to the Centre of the Eye (1971)

Given that Nektar were formed in Germany and the imagery they put forth on their debut, I have a tendency to lump this album in with Krautrock. As I mentioned on Emtidi's Saat album the other day, you know Krautrock when you hear it. And Journey to the Centre of the Eye isn't it. Later albums are more obvious on this front (being more overtly progressive rock), but the debut is more experimental. In a similar way that same era Pink Floyd and Hawkwind are. This is space rock through and through. Perhaps to its detriment. Some of the downtime portions could use some of that Krautrock atmosphere that's missing. It's still a darn good listen with 'Burn Out My Eyes' being a particular highlight. In fact Side 2 does overshadow the flip, leaving a strong impression afterward. Before last night, I would have argued that Journey to the Centre of the Eye is my favorite Nektar. Something tells me one of their next two will be now.

CD includes their 1972 single 'Do You Believe in Magic' and '1-2-3-4'. Both good tunes but not enough to keep the CD for. Both of these were extended on the Sounds Like This album.

Ownership: 1972 Bacillus (LP). Gatefold. 

1//88 (acquired); 2/13/07; 8/26/23 (review)

Down to Earth (1974)

As with Magic is a Child, I hadn't actually heard Down to Earth until now. Or I probably did in snippets and walked away in disgust. This is exactly the type of album that would not have appealed to me at age 21, or 31, maybe even 41. But at 51, I hear it in a different way. Managing expectations is everything, and it's not unreasonable for someone to approach this expecting to hear the sounds of the album before (Remember the Future) or after (Recycled). In fact, the latter album probably has more to do with the negative impression in modern times, since it was rare for a band to make a "comeback" like that in the 1970s. Just about every progressive rock band found their way to commercialism over time. 1974 was perhaps a bit early to jump the shark as it were, but in retrospect this album was actually ahead of its time, though I'm sure audiences back then were quite baffled by it. So in the end, had the band renamed themselves Ratken for this album, it probably would have been received better.

And after hearing it intently, I was quite surprised at how progressive it actually is. It's tighter and doesn't possess the long stretches of progressive space rock, so on the surface it seems less complex. 'Nelly the Elephant' is startling in that it sounds more like a horn rock track from 1970. It reminded me of the UK band The Greatest Show on Earth actually (circus themes?). 'Early Morning Clown' wouldn't be out of place on a Jonesy or Fruupp album. And 'That's Life' sounds like an outtake from Yes' Fragile session. In fact, only the relatively dull song 'Little Boy' ended up being a slight disappointment. This is a very good album to my ears, and I suspect will always be misunderstood. I can see I'm of the minority opinion on this one. OK, fair enough.

Ownership: 1974 Bacillus (LP). Gatefold. Quad. 

1/23/16 (acquired / review); 8/5/23

Magic is a Child (1977)

Well, believe it or not, I'd never heard this record until now. And probably never would have, were it not a throw-in to another LP deal I just purchased. Good thing. Had I heard this 30, or even 20 years ago, I would have dismissed it out of hand. But with my ears today (oh these ears, I tell ya...), I hear exactly what Nektar was going for and honestly they did a great job at it!

And what they were going for was FM radio airplay. For whatever reason, the radio guys didn't feel there were any hits here. But I disagree, as seven out of the nine songs here could have easily caught on with the 1977 crowd. So yes, Nektar are a long way from their (recent) progressive rock past - and even further from their space rock roots. But this is still some fine sophisticated AOR, or what we used to call "pomp". A precursor to the neo-prog (later interpretation of said movement) sound honestly.

Good album if bands like Styx, later Starcastle, City Boy, and others of its ilk appeal to you.

Ownership: 1977 Polydor (LP)

12/6/15 (acquired / review)

Also own and need to review: A Tab in the Ocean; Remember the Future; Recycled

Also once owned: Man in the Moon

12/6/15 (new entry)

Dragonfly ~ USA ~ Colorado

Dragonfly (1968)

Dragonfly were formed in the unlikely small southwestern Colorado town of Durango. Coincidentally, Mrs. UMR and I were there just three weeks ago. Great place to visit. But would be a near impossible place to start a band and thrive. It's not near any major city centers, and the town itself had a population of 10,000 in the 1960s. Of course that wasn't their grand plan, and they continued to try and make it in Los Angeles. I bet that was a fun desert drive in the 60s (not). They also worked the Denver scene back then (not close in proximity either), but it was hardly a mecca for psychedelia.

Whatever the case, perseverance wins the day, and Dragonfly did manage to eke out one LP released to a non-existent audience. Years later, it became a cult classic, and has been an expensive item ever since I started collecting in earnest in the late 80s. A fellow friend / collector back in Dallas had a copy, so I first heard it back in the early 90s. It has an immediate likeable sound for psychedelic fuzz fans. The album is stuffed to the gills with fuzz, more than just about any other album of its kind. Just a few days ago, I said this about Andwellas Dream Love and Poetry: "I think one of the keys to appreciating 1960s psychedelic albums is to focus on the singles mentality of the era. The 45 RPM single that is. The short form track with bursts of fuzz guitar." That mindset is needed more on Dragonfly than any other album I can think of. The downside to Dragonfly's sole album is a complete dearth of songwriting. Unlike some of their peers such as Morgen and The Plastic Cloud, there isn't anything memorable on the album. It's just 10 short bursts of punk-snot heavy psych (there are 12 tracks, but 2 are just interludes). For ardent fans of the style, songwriting isn't that important. It's about attitude, atmosphere, and sound texture. I find myself in between both camps. Which makes it a keeper.

Ownership: 2019 Sunbeam (CD). Digipak with a full set of liner notes and two relevant bonus tracks taken from their predecessor group The Legend. 

1991 (first listen); 8/26/23 (acquired / review / new entry)

Color Humano ~ Argentina

Color Humano III (1973)

Third and last studio album from Color Humano, one of a trilogy of groups that were formed out of the ashes of Almendra. Like most groups from Argentina during this era, the music is heavily influenced by the blues with the inclusion of Spanish vocals. What you hope for is some invention along with additional heaviness. And that's what Color Humano brings to their final opus. The guitar tone and meter shifts reminds me of Il Rovescio della Medaglia's debut. Were not that far from Tony Iommi's tone at times, though it's more dynamic than that may imply. Other than A2, the songwriting avoids straight blues, which makes for a more interesting listen. There are some go-nowhere moments to endure on a couple of these tracks, as the band seems in no hurry to prove a point. B2 is a cool lengthy space rock jam. As I mentioned on the Claudio Gabis y la Pesada review, I really need to familiarize myself further with these Argentinian hard blues rock albums.

Ownership: 2003 Sony / Microfon (CD). Simple slip card.

10/26/17 (acquired); 8/25/23 (review)

8/25/23 (new entry)

Bulldog Breed ~ England

Made in England (1969)

Bulldog Breed's sole album is a difficult album for me to get my arms around. It starts off in a fine psychedelic rock manner, but it's sporadic overall with the style brush. With 14 tracks, there's no shortage of at-bats, as they definitely took a lot of swings at the plate. There's some blues, freakbeat, jazz, whimsical pop, folk, and more psych. Their heritage includes groups like Please, Gun, and later T2. The album would have fit better for the Swinging London mod scene of 1966 and '67 rather than the edgier year of 1969. Which explains why it didn't sell well to begin with, and like most albums that suffered a similar fate, is now consider a highly collectable rarity. My best picks would include A1, A3, A7, B2, B3, B4, B6, B7. The last track is my favorite overall.

Ownership: 2004 Lion / Acme (CD). Includes their rare 45 single. Historical liner notes.

1/14/18 (acquired); 8/25/23 (review / new entry)

Emtidi - Saat. 1972 Germany

Saat is one of those albums I've owned for over 30 years and never penned a word about it. Traditionally I've lumped this in with the Pilz cosmic folk trilogy along with Broselmaschine and Hoelderlin's Traum. As have many other listeners. On this revisit I couldn't get around the fact that this album represents the spirit of Krautrock more than psychedelic folk. There is a difference, subtle as it may be. Of course having Dieter Dirks at the controls may be the reason why. Perhaps Canadian resident Dolly Holmes and German born Maik Hirschfeldt were nothing more than a couple of free spirited folk buskers as demonstrated on their debut. But the sunshine filled trippiness Saat offers resides on planet Krautrock. You know it when you hear it. Also the album is not dominated by singing, and there's long stretches of instrumental improvisation. Personally I could have gone more for tracks like 'Traume' which highlights Holmes wonderful soprano wordless voice.  +1 listen for me.

Ownership: LP: 1972 Pilz. Gatefold. Acquired online (2012). This replaced the first copy I purchased (1989), which was the Pop Import release.

CD: 2008 Lion Productions. Nice reissue with liner notes about the band and Rolf Ulrich Kaiser. This is the 3rd CD I've owned preceded by the Spalax and Arcangelo versions. As the liners state: "We'd love to tell you the story of Emtidi, but there isn't much of a story to tell". Which means they didn't find either to speak with. So they provide more of a review than a biography. Better than nothing. The Kaiser history was very interesting to me though. I wasn't aware of a few things they mentioned.

1989; 6/5/09; 8/24/23 (new entry)

Andwellas Dream - Love and Poetry. 1969 Ireland

I think one of the keys to appreciating 1960s psychedelic albums is to focus on the singles mentality of the era. The 45 RPM single that is. The short form track with bursts of fuzz guitar. While there are certainly very interesting long form albums from the era, from the likes of Pink Floyd, Group 1850, Quicksilver Messenger Service, Iron Butterfly, even the Beatles - most of the genre still has their mind on hard hitting and impactful short songs meant for fast recognition - and a quick high. Once you grasp that concept, then some of these 60s psychedelic classics begin to make sense. The Who, Jefferson Airplane, Blue Cheer, The Rolling Stones, and multiple others are essentially compiling a group of singles for your approval. As someone who grew up appreciating the side long progressive epic or the Krautrock atmospheric jam, much of this mindset was lost on me. But taking an album of individual components versus a macro concept can be just as interesting. Certainly as the 70s and 80s rolled on, this perspective is required and expected. It's not like 70s AOR and 80s heavy metal albums were mostly conceptual. But they tend to be more focused for certain. 1960s bands were writing the rules, even if they had no idea what the boundaries were. And with that, Love and Poetry remains an inconsistent listen, but the good stuff is exceptional.

Ownership: CD: 2018 Sunbeam. Digipak. Nice reissue with full liner notes and historical memorabilia from group leader David Lewis. Contains eight bonus tracks. Four of these are non-LP singles. Mostly subpar to the album with the exception of the excellent instrumental 'Michael FitzHenry' (1970), which catches the band in transition to renaming themselves Andwella. Otherwise, two tracks are alternate takes (nothing revelatory) and two modern live songs from 2008, which have little to do with the music of Love and Poetry. This version replaces the Japanese papersleeve edition that does not contain any of these extras. Since original LPs are typically in the four figure range, I'm more than content with this CD.

3/5/07; 12/13/13; 6/7/18; 8/21/23 (new entry)

Don Robertson ~ USA ~ Denver, Colorado

Dawn (1969)

During the pandemic I found Robertson's second album from 1984 and was pleasantly surprised how great it was. As noted there, I didn't own the debut but had heard it at least (twice in fact). That situation has finally been rectified. Dawn is more "out there" than I originally thought - meaning this is a highly experimental work recalling such luminaries as Friendsound and Fifty Foot Hose. It's all very psychedelic, but not in a 60s styled rock kind of way. More like disorienting and trippy with period instrumentation. A lot of sitar, female vocals, and some fuzz guitar. Sound collage is used to drive home Robertson's we're-all-going-to-hell-in-a-handbasket message, though the liner notes indicate that he was pursuing an academic approach to music. Overall a very satisfying work and one of America's most freaky albums.

I had wondered why I didn't include this album in the CDRWL as the only reissue was from the always questionable Akarma. But it's very clear in this case that the label worked directly with Robertson and features extensive liner notes. Though I have Robertson as from Colorado, where he spent his youth and most of his adult years, this album was from his time in San Francisco.

Ownership: 1969 Limelight (LP)

2008 (first listen); 3/19/15; 8/20/23 (review)

Spring (1984)

I remember reading about this album in Eurock back in the 80s. They had referenced his debut album Dawn from 1969 as a classic of its kind. I have since heard that album (though still do not own), and have to agree that it is a unique early psychedelic infused new age styled work. I presumed Spring would be New Age without the psychedelic aspects, especially 15 years later. Yes and no. It's not really New Age at all, at least as the term has come to mean - that of a hollow digital recording, canned percussion, and saccharine melodies. And while it's not exactly psychedelic in the 60s sense of the word, there is a disorienting aspect to his sound here. Primarily what Robertson has managed to achieve here is the same kind of "crystalline" sound that Klaus Schulze did on 'Crystal Lake' (Mirage). And yes, there is a Berlin School component here. There's a lot of depth to the composition and sound structure. One of a kind to my ears. A pleasant surprise and explains why this album is sought after. 

Interesting to note that Robertson thanks Bernard Xolotl on the back cover (another unique electronic musician of the early 80s). 

Ownership: 1984 DBR (LP)

11/14/20 (review)

11/14/20 (new entry)

The Viola Crayola ~ USA ~ San Antonio, Texas

Music: Breathing of Statues (1974)

---6/17/09

You know, there are great guitar trio albums and then there's Viola Crayola. This jazzy psych freakout jam album is just remarkable and sounds about 15 years ahead of its time in technique. And fortunately it is of its era sound wise. This thing just rips and shreds and wah-wah's until you collapse from exhaustion. The last 2 minute goofball track allows us to see Viola's mentor - Mr. Zappa. If these guys released this in 1991, there would be a monthly feature in Guitar Player for him.

---8/17/23

I wish more data would emerge about this release. Musically it's anachronistic and I have a lot of questions about the recording and band itself. Difficult to corroborate any of the information. But it's a great album, no questioning that. It's not too far removed from the Paradox - Modern Madness album if looking for comparisons. Or even Automatic Fine Tuning.

Ownership: 1974 Fautna (LP)  

No legit reissues as of 3/31/25.

6/17/09 (review); 8/17/23 (update / new entry)

Matching Mole. 1972 England

For a band whose name is derived from Soft Machine, and features Robert Wyatt and David Sinclair (Caravan), Matching Mole proves to be a new kind of sound. Not very whimsical, though lyrically very much so. By 1972, Soft Machine had evolved into a pure jazz band, so Matching Mole represents a departure back to their rock roots. A sort of fuzzy jazz rock is presented. The finale - drenched in mellotron - sounds more like an Edgar Froese solo album, yet a full two years ahead of his own obsession with the instrument.

About 18 years ago I added this observation about Matching Mole: "Matching Mole are the wacky, and more demented, older cousin to Hatfield and the North. While Hatfield got straight A’s in art theory, despite being oh so witty, Matching Mole sat in the back of the class and scored a 1600 on their SAT while getting a D- for the semester."

Ownership: LP: 1972 CBS. Single textured sleeve. Acquired long ago from RPM in the DFW area (1989).

1989; 9//04; 8/8/23 (new entry)

Mona Lisa - Grimaces. 1975 France

Mona Lisa were the second most known band operating in the French Theatrical Progressive rock style, well behind the progenitors of the movement: Ange. Grimaces is their sophomore effort and is a major leap in quality from their debut - at least in terms of production and overall songwriting. While lead singer Dominique Leguenec most certainly dominates the recording with his impassioned and unique vocal style, the band doesn't sit back and buy a ticket to watch. There's plenty of musical breaks and exciting instrumental flights of fancy. Though Mona Lisa's next two albums are considered their classics, Grimaces might be my favorite. It's a bit more raw and unpolished. Essential for the style, regardless.

Ownership: LP: 1975 Arcane. Yellow and black label (there exists a white and red as well). Rough paper single sleeve. Online acquisition (2000). This is a title I didn't find or seek out in my initial quest during the 80s and early 90s. I wasn't overly enamored with this kind of sound back then. This album was one of many that altered my opinion.

2000; 2//06; 8/7/23 (new entry)

Metabolisme - Tempus Fugit. 1977 France

A little over 16 years ago I wrote:

There was an explosion of great acts from France in the late 70s, and Metabolisme fit well into this scene. Signed to RCA's leading light Crypto, Metabolisme has the usual dark atmospheres, processed fuzzy guitars and lost vocals. When they burst out of a slow number and rip into a tight ensemble piece you might hear Arachnoid. The spacey Pink Floyd atmosphere recalls Pulsar, especially at the time of Pollen. Other acts begin to pop into my head as I listen: Artcane, Terpandre, Memoriance, and fellow Crypto recording artist Carpe Diem. It's a riot of 1977 France.

---

Haha, I like that: A riot of 1977 France. A rare moment of inspired writing... Anyway, the above captures the album well based on last night's listen. I didn't mention that it sounds much older than it is. This could have come out in 1971 given the production and instrumentation. Somewhat like Erlkoenig from Germany. This is the kind of album that gets picked on from those who "dabble" in progressive rock. For hardcore deep divers it's another essential listen.

Ownership: LP: 1977 Crypto. Single sleeve. Acquired from the Record Gallery in Dallas a long time ago (1988). My copy has discreet stickers on the front and back cover that alters the catalog number to CRY 3302 as well as CMI Distribution, but Discogs does not have a similar note or entry about it.

1988 (first listen); 6/2/07 (review); 8/7/23 (update/new entry)

New Trolls / Ibis (& related) ~ Italy

UT (1972)

---May 2005

The New Trolls were sort of a what’s happenin’ now kind of group, so after their Hendrix meets classical meets Italian pop Concerto Grosso I album, they embarked on probably their most progressive effort with UT. And the album itself is as diverse as their career. For example, starting with track 4, we get the whiny pop track ‘Storia di una Foglia’ followed by the stunningly beautiful and ultimately freaked out guitar space jam of ‘Nato Adesso’. This is then followed by 'C'e Troppa Guerra’ which starts exactly like something found on Black Sabbath’s Paranoid album, only to be further funneled up and down the Osanna rollercoaster. And so it goes from more proggy parts to the ooey/gooey end piece. Did I mention the album starts in a classical music vein? These guys make early Styx look focused. Or even Mr. Bungle. 'Nato Adesso' and 'C'e Troppa Guerra’ are monster tracks though.

---8/5/23

Last night's listen concludes that pretty much sticks the landing. I tend to favor more of the romantic songwriting than I did in the past, but the rating and viewpoints remain the same.

Ownership: 1972 Cetra (LP). Gatefold; 2004 Arcangelo (CD). Papersleeve

1992 (acquired); 5//05 (review); 2010; 8/5/23 (update)

Tempi Dispari (1974)

---Mar 2005

The New Trolls are heavy duty into their jazz rock / fusion phase here. Way more so than on the previous Atomic System album. Some of it is smoky jazz, with atmospheric saxophone. Others contain ripping acoustic bass, drum solos and wailing sax. There isn’t much here that tells of its Italian origin, it could be from anywhere, and is fairly typical sounding for the time. Side 2 is the more interesting of the two sides. Here it’s more of a cosmic space rock meets jazz fusion. Driven by a pretty neat bass guitar sequence, plenty of acid guitar, sax, and organ solos are laid on top for a feel closer to what Miles Davis was doing during this period.

---7/3/23

Yep, that was a good listen. This is the one New Trolls album that belongs to the jazz collection versus ...welll everything else I guess. With the New Trolls, one never knows what they're going to hear. They never had an identity one could latch on to. For those who like variety, New Trolls are your band.

Ownership: 1982 Magma Japan (LP). Gatefold.

2000 (acquired); 3//05 (review); 7/3/23 (update)

New Trolls Atomic System (1973)

I've spoken about the New Trolls' lack of identity in the past on Searching for a Land, and the New Trolls Atomic System (nee NT Atomic System) continues along this path to underscore the problem. The group is so confused at this state, they can't even articulate their band name properly to the label, so much so they were forced to put a sticker on the LP so that it was absolutely clear. Really I think the buying populace could have figured it out. I mean I think most folks can handle ELP without spelling out Emerson, Lake and Palmer right? In order to ensure everyone stays confused, the band released the album as Night On The Bare Mountain in Germany (uh, guys, it's Night on Bald Mountain in any case...). And sure why not? How about calling it To Believe Again - Later I Saw - Hibernation in France. These latter two releases included the aforementioned classical composer's track 'Una Notte Sul Monte Calvo', while leaving off the English language 'Butterfly'. And then finally, they decided to release all the tracks on the same album for the Italian market 3 years later - with the title Una Notte Sul Monte Calvo. Mannn, this band is CONFUSED!

Ah yes, the music. Well it's nice to see the New Trolls [N.T.] [Atomic System] hearkening back to their progressive rock past. The album opens in killer fashion with 'La nuova predica di Padre O'Brien' and continues down this path for the majority of the album. My recollection was something more akin to a strong opening and it more or less falls off a cliff from there. Not so. For certain, the Italian prog style's gymnastics are mostly front loaded, but a careful listen demonstrates the band is clearly operating in similar territory to their peers during this era. There's some singer-songwriter characteristics, but again, that is an ingredient of the classic sound and should not be dismissed. Add me to the chorus that states 'Butterfly' is the weakest track - and it's never a good idea to finish in lackluster fashion, as that is the lasting impression. This track appears to be made for the export market (and yet, somehow it fell off all the export releases - jeesh!), and is incongruous with the preceding material. And it closes with the greatest sin of all... a drum solo.

Ownership: 1973 Magma (LP). Triple FOC

1998 (acquired); 9/21/18 (review)

Nico, Gianni, Frank, Maurizio - Canti D'Innocenza Canti D'Esperienza (1973)

The big ? on the front cover has many different meanings, but there is no doubt that at this time the New Trolls were at a crossroads when it came to musical direction. Were they a hard rock band? Prog? Pop? Fusion? Searching for a Land tried everything whereas UT focused more on progressive hard rock, and is arguably their finest work. While Canti D'Innocenza, Canti D'Esperienza is nowadays referred to as Ibis version 0.5, the truth is they were the New Trolls in disguise. This particular album picks up where UT left off, and plays to their hard rock side with plenty of theme and meter changes to demonstrate their progressive pedigree. This isn't the Yes worship of Ibis' Sun Supreme. There's some acoustic interludes, and plenty of high pitched vocal wailing in Italian, all trademarks of the genre. I also hear a bit of a psychedelic throwback sound, perhaps like Garybaldi's Nuda. Really an excellent album that I think carries the New Trolls moniker baggage despite their attempts to disassociate. Best to approach this album as its own thing, and you'll walk away more impressed.

Ownership: 1973 Cetra (LP). Textured gatefold with booklet attached. 

1991 (acquired); 1/18/07; 5/25/18 (review)

Ibis (1975)

I find it humorous that I have somehow cobbled four versions of this album. I didn't even own it at all a few years ago, and that's primarily because I didn't like it much. I still wouldn't claim it to be some great Italian prog masterpiece, but it works well as a hard rock / progressive crossover album. I've come to grips with it on its own terms. The New Trolls never had any identity, and neither did their offshoots, which includes Ibis. Their debut Sun Supreme is a classic album in the Yes mold. Their self-titled second (yes, please be as confusing as possible guys) is nothing of the sort. It could have been a New Trolls album, or a completely new outfit. Most of the album is solid, with a couple of blues / boogie clunkers. The one highlight is the lengthy 'Narratio'.

Ownership: 1975 Polydor (LP)

2009 (acquired); 12/10/16 (review); 10/12/21

Searching for a Land (1972)

The biggest challenge facing the New Trolls, at least for contemporary fans, is that they had (have?) absolutely no identity. And no album in their discography underscores this fact more than Searching for a Land - a title which be can interpreted figuratively. As such, when I first bought the LP 25 years ago, I hated it and promptly sold back into the marketplace. As is often the case, I decided to buy the CD again, and reevaluate properly - and hopefully more objective this go round.

And so yes, I can hear the merits of the album in a different light. Album #1 is a folk / psych / prog amalgamation. Not too distant from what was happening in the UK during that era, as one might find on the Transatlantic label for example. Singing in English was a highly unusual move for Italians back then, and unfortunately it loses something in translation. The vocals are oddly affected, though I find them interesting all the same. Album #2 is a live recording that brings out the band's inner Deep Purple. The phony piped in audience noise is ridiculous, as if they recorded the album in front of a bunch of 13 year old girls - and they were Frank Sinatra. Ha! All the same, the New Trolls were accomplished musicians and the album has a kinetic energy that is infectious, even if it's entirely unoriginal.

The band would go on from here to release their most progressive album in UT, before splintering/devolving into various fusion and/or pop rock incarnations. As I said in the prelude: The New Trolls never had an identity for anyone to relate with. And thus they haven't aged well.

Former ownership: 1972 Cetra (2xLP). Gatefold

1991 (acquired); 11/12/16 (review); 12/29/23

Ibis - Sun Supreme (1974)

Ibis were made up of ex-New Trolls members (and a former drummer from Atomic Rooster - and whose name is not Carl Palmer) and this was their debut album (though technically the first album was under the name Nico, Gianni, Frank, Maurizio). It was far more geared towards symphonic progressive rock, heavily influenced by Yes, especially when compared against their second, more straightforward, hard rock influenced album.

There really aren't any highlight tracks for Sun Supreme. Honestly, I'm amazed this album gets the praise it does, especially since it walks right into the usual "prog is pretentious" argument (an argument that I absolutely disagree with, even here at its most obvious). And yet this album - of all albums - somehow gets a pass from the critics. For starters this has nothing to do with the Italian progressive rock movement (indigenous melodies are missing; English vocals). Not that one should get automatic demerits for that, but it is worth mentioning given the time and place. What we have with Sun Supreme is a huge heaping mess of Yes. And I mean mess as in Tales From Topographic Ocean Yes (disclaimer: I really like Tales From Topographic Ocean  - but not necessarily going to fawn over a copycat attempt that falls short). From the song titles to the "higher key" religious aspects (oh hello Satguru Maharaji and his followers: Did you like this album dedicated to you? How come nothing like this from the home country, anyway?). I should offer minuses too, since 'Divinity Part 2' is nothing but a very long, and very dull, drum solo. That's 7 minutes of boredom right there.

So it seems I'm really down on Sun Supreme then? Well, no, that's not true. I do like it - as I do appreciate a good Yes imitation (heck I even adore Druid's Towards the Sun and early Starcastle). It's hardly a style that is easy to emulate, and it's good entertainment taken on its own if you can ignore the influences. I'm loathe to use terms like overrated, since albums like this are barely rated in the first place (it's not like the New York Times were pushing this down everyone's throat as the next big thing). But I have to say that I disagree with those that claim this is a classic work. It's not a classic by my estimation. Unless you want a somewhat tepid response to Yes' Tales From Topographic Oceans. It screams New Trolls cash-in. Probably because that is exactly what it is. Buy it only if you can't get enough of that sound. And perhaps I fall into that category. I can't help it.

Ownership: 1974 Polydor (LP). Textured sleeve. 

1991 (acquired); 9/20/10 (review)

Also own and need to review: Concerto Grosso

9/20/10 (new entry)

Osmosis. 1970 USA-Massachusetts

One of countless American albums from 1970 that demonstrated an awkward progression from psych to something else. What that something else might be is where either the allure or frustration settles in. Osmosis features none other than jazz luminary Charlie Mariano, who would take this new sound with him to Germany and jam with some of the greats like Embryo. Mariano was already 47 when this album was released, double the age of your average psych performer. His experience plays a major role here, and why Osmosis sounds entirely unique. Where it fits in the collection is a tough answer. Is it jazz rock, prog, or psych? The answer is yes. The vocal segments point to a rock heritage and they definitely have that last stage psychedelic sound down. It's kind of trippy, poppy, and disorienting. But the jazz angle that Mariano brings recalls Wolfgang Dauner, probably his closest peer in terms of age and background. In reading other reviews, one can see the frustration people have with Osmosis. It doesn't fit a narrative. Which is probably why I appreciate it more on each listen.

Ownership: LP: 1970 RCA. Single sleeve. Online acquisition (2019). It was in perfect shape, I couldn't resist. Still shrink and nicer than Discogs' stock copy.

CD: 2017 Esoteric. I bought this upon release. This album was in my extended CDRWL blog, but never featured. The CD has copious liner notes but no bonus tracks. I was going to sell it, but you can still find sealed copies on the cheap, so I'll hold onto it for now. I listened to the LP on this last visit, so I can't comment on the sound.

2015; 1/13/18; 8/4/23 (new entry)

Archetype - Dawning. 2002 USA-Ohio

One of my personal axioms is that I rarely enjoy bands that look like guys I work with. lol. There's always the exception that proves the rule. Dawning is a highly rated prog / power metal band. I've read comparisons that Cleveland's Archetype sits between Iced Earth and Fates Warning. Honestly I don't hear too much Fates Warning. Iced Earth, yes for sure. Maybe Iced Earth meets Budgie? The album gets stronger - and weirder - as it goes. It's just a little off from the "metal standard", which is where the allure lies. It's proggy, it's techy, and it's most certainly metaly. I have to admit to having an affinity for private pressings from the Midwest. So this checks a lot of boxes and it's the kind of album where the relistenability factor appears to be very high.

Ownership: CD: 2002 private. Acquired from a collection buy (2016). Just now getting around to listening to it. Ugh. Despite being a highly rated private pressing, this CD remains very cheap. It was originally also issued by larger label out of Italy and apparently was re-recorded 2 years later and released by the LMP /Limb imprint. I'd probably prefer this rough-and-ready version regardless.

8/3/23 (new entry)

A Foot in Coldwater - All Around Us. 1974 Canada-Ontario

I've had this title kicking around the collection for a few years, starting with the Wounded Bird CD. Seems I play it every year in an attempt to understand the contents. I always heard just enough goodness to keep it around, but couldn't grasp as to why. My notes from 2 years ago simply stated: A Foot in Coldwater offer up straightforward hard rock with organ, with AOR and prog overtones. Not going to floor anyone, but there's at least 4 excellent tracks here including the title song.

Not the most compelling notes I've ever penned. But last night's listen confirmed the higher grade. So what is the magic here? The review above does a decent job of capturing side 1. It's side 2 that we need to focus on. Sounding every bit like Rush, before Rush was Rush, you know what I mean? Haha - that is, Toronto's A Foot in Coldwater is predicting Caress of Steel, not the self-titled 1974 album. Also, if you can compartmentalize this, listen to All Around Us with a singles 45 mentality. There's some really good hard psych material here too, a throwback to a fuzzier time. This album looks both forward and to the past. The back cover indicates good times AOR. They fooled us all.

CD: 2008 Wounded Bird. Basic jewel case release.

Former ownership: LP: 1974 Elektra. Pulled this out of the 50 cent bin of a local store (2021). 

I didn't even realize this Canadian band had an original US release, but here it is. Features a slightly different title (Or All Around Us). 

1/4/17 (first listen); 6/18/20; 10/23/21 (journal); 4/23/22; 8/3/23 (update/new entry)

The Trip - Atlantide. 1972 Italy

Over 20 years ago, I wrote the following, edited for relevancy:

The Trip were but one of many Italian bands combining rock, classical, jazz, pop, and folk to produce what is now known as the Italian rock renaissance. While most of their fellow countrymen were in their own sealed world, trying to outdo each other in the creative sweepstakes, The Trip were more impressionable, mostly by influences outside of Italy. Perhaps this is due to having full time English members? All four of their albums are completely different and bear the stamp of another international group or movement. The Trip were also one of the few Italian bands to utilize English vocals... On their third, Atlantide, The Trip looks squarely at Emerson Lake and Palmer for inspiration. Tossing guitarist William Gray, the newly formed keyboard trio lineup could not resist temptation. So we have all the elements of ELP bombast: Dramatic Ben-Hur anthemic sequences offset by jazzy keyboard jamming and even the requisite ten-minute drum solo. Some of this is exhilarating, and yet at the same time, frustrating. I hear a band with high musical talent trapped within the confines of another man's mind.

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4 years after that, I wrote further: On this album they go for the ELP sound – as they had just been reduced to a keyboard trio. ‘Manticore’ and other ELP styled Tarkus organ anthems abound. As always, the sound is stunning. Did you know The Trip once featured Ritchie Blackmore as a member? (they were once an all British band who moved to Italy and eventually became a majority Italian group). This is the first album to feature monster drummer Furio Chirico, who formed Arti + Mestieri in 1974. I can see them wanting to exploit his skills, but he gets too much space on the overlong drum solo in ‘Distruzione’. The clarity of this recording points to how strong the organ playing really was here.

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While listening to this album again last night, I was thinking it might go +1 as those "jazzy keyboard jamming" parts are pretty cool. More Aardvark than ELP that is to say. But, oh yea poop, the stupid drum solo at the end mars whatever potential Atlantide might possess. Ibis' Sun Supreme suffered a similar fate.

Ownership: LP: 1972 RCA. Incredible triple fold out cover. Also comes with a 45 SP with picture sleeve. Acquired from a collection buy (1997), which replaced the RCA reissue that I purchased in 1991. 

1991; 1997; 3/17/01 (Gnosis); 2//05; 8/3/23 (new entry)

Grobschnitt - Rockpommel's Land. 1977 Germany

Over 20 years ago, I wrote the following, edited for relevancy:

Rockpommel's Land represents another major shift for Grobschnitt. Here they play a symphonic music in the Yes / Genesis tradition. Considered their masterpiece by many fans, I didn't find the album near as compelling as their earlier psychedelic Krautrock works. And while it's better than the predecessor Jumbo, it's still a bit of a disappointment compared to what it could have been. The problem is this kind of symphonic rock style is not Grobschnitt's forte I'm afraid. I also feel Wildschwein's heavily accented English vocals are not well suited for what the genre calls for. However, I still enjoy the complex instrumental breaks, so overall I can still recommend. But start with the first album or anything that has 'Solar Music' on it.

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After all these years, Rockpommel's Land is beginning to resonate with me. The review above was altered slightly from the original after a +1 sitting. Last night's listen elevated it one more point. The problem for me had been expectation setting. I loved their debut and the Solar Music suite, not so much their vocal led songs, especially their goofier material. Rockpommel's Land is a serious symphonic work, with admittedly a silly story behind it. And it's really the only album like it in Grobschnitt's canon. I'm at a point now where this album is likely to have a spot in the collection for a long time.

Ownership: LP: 1977 Brain. Gatefold with insert. Original orange label. Mail order acquisition from long ago (1989). I also had the Repertoire CD that adds a nice history + one live 16 minute summary track of the album. Not distinctive enough for me to hold onto however.

1989; 1/17/01 (Gnosis); 2008; 2013; 8/3/23 (new entry)