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)

Blossom Toes - If Only For a Moment. 1969 England

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 given all the extras the CD brings.

Ownership: CD: 2019 Sunbeam. Digipak. Nice sounding reissue with full liner notes and 7 bonus tracks, including a rare single (that demonstrates both of their distinct styles - b side is great). I had heard this music once prior but recall nothing about it, so I'm considering this my introduction to the album. Given the value-to-my-appreciation of the album, I can pass on the original LP. This works just fine.

8/28/23 (new entry)

Atomic Rooster - Atomic Roooster. 1970 England

Atomic Rooster was born out of The Crazy World of Arthur Brown, and were one of the first bands to introduce the keyboard progressive rock trio. Of course The Nice were the progenitors, and the combo of both these bands ultimately formed Emerson, Lake, and Palmer. Perhaps you've heard of them. The lineup for Atomic Rooster's debut (title spelled with 3 O's) is two-thirds unique to this release, and adds some unique twists to their formula. There is no guitar for one, and there's the addition of flute for another. All the same, even sans guitar, this debut rocks hard. Plenty of great songwriting as well. One of the pioneers taking England from the psychedelic era to progressive rock, and ultimately worldwide. One can hear Atomic Rooster in some of the Italian prog bands that were to emerge only two years later, as but one example.

Ownership: CD: 2017 Esoteric. 4xCD box set entitled Sleeping for Years. Includes a full history, all 5 of their albums, and copious bonus tracks. I believe all of these have been issued prior, but I haven't done exhaustive research on the topic. Regardless, this box set brings them altogether. This supersedes the Arcangelo and Repertoire CDs, the latter representing my introduction to the album (2003). I've never owned this title on LP, and I'm not seeking one out either. For the debut, the CD includes 3 tracks rerecorded with John Du Cann's guitar (all excellent). Apparently this version was to be released in the US, but that never happened. Also included are two demo tracks for Death Walks Behind You, including one with Carl Palmer. And finally the A-side to their single, which was released after their second album. The B-side resides on disc 2.

2003; 5/25/17; 8/27/23 (new entry)

Nektar - Journey to the Centre of the Eye. 1971 England

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.

Ownership: LP: 1972 Bacillus. Gatefold. I go way back with this copy, to a store in Oklahoma City known as Rainbow Records (1988). Long history usually means personally important record, and Journey to the Centre of the Eye is no exception to that rule.

CD: 2006 WHD (Japan). Papersleeve edition.

1//88 (first listen); 2/13/07; 8/26/23 (review / new entry)

Dragonfly. 1968 USA-Colorado

Dragonfly were formed in the unlikely small southwestern Colorado town of Durango. Coincidentally, Mrs. UMR and I were there just 3 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 60s. 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: CD: 2019 Sunbeam (UK). Digipak with a full set of liner notes and 2 relevant bonus tracks taken from their predecessor group The Legend. After all these years, this is the first time for me to own a copy of this album, though I've heard it a couple times in the interim between first exposure. It's not the kind of album I'd drop $500 on, so this CD will have to do. Good sounding CD too (Sunbeam can be sporadic on this front).

8/26/23 (new entry)

Color Humano - III. 1973 Argentina

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 far 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: CD: 2003 Sony/Microfon. Comes in a simple slip card and is very underwhelming from a packaging perspective. What you see in these photos is all you will get. No bonus tracks or liner notes. The sound, however, must be from the master tapes. Crystal clear. Acquired in 2017 and this was my introduction to the album. In evaluating on whether to purchase an original LP or not, the odds of getting a super nice copy out of Argentina are pretty low. There does exist a 1985 pressing that is likely to be better preserved. I probably won't seek it out, but wouldn't pass up a good deal here either.

10/26/17; 8/25/23 (new entry)

Bulldog Breed - Made in England. 1969 England

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: CD: 2004 Lion / Acme. Jewel case. Nice reissue that includes their rare 45 single. Informative liner notes as well. 

1/14/18 (first listen); 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 - Dawn. 1969 USA-Colorado

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.

Ownership: LP: 1969 Limelight. Single sleeve. Recent online acquisition (2023). While not a cheap album, copies are more affordable today than they were 20 years ago. 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. The images you see are this copy as I added them to Discogs.

2008; 2015; 8/20/23 (new entry)

The Viola Crayola - Music: Breathing of Statues. 1974 USA-Texas

This is another old CDRWL entry. 14 years ago I wrote (edited slightly):

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.

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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: LP: 1974 Fautna. Single sleeve. Recent online acquisition (2023). 

Not a cheap album, that's for sure. Never been reissued (legit, that is).

6/17/09 (CDRWL); 8/17/23 (new entry)

Maneige - Les Porches. 1975 Canada-Quebec

The sophomore effort from Quebec's finest prog band starts off in highbrow mode. Borderline chamber classical music, it maintains a certain beauty throughout. As the title track progresses, it slowly introduces rock elements. That which side 2 takes complete advantage of, and is a brilliant piece overall. Les Porches is a mostly instrumental mix of jazz fusion, classical, and prog rock, and represents the region's sound very well. A classic of its kind.

Ownership: LP: 1975 Harvest. Single sleeve with printed inner bag. Found at VVV Records in Dallas in my earliest exploratory days (1988). Even at this late date, the album remains very affordable, demonstrating how popular it was in its initial run.

1988; 12/31/07; 8/11/23 (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.

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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 - UT. 1972 Italy

About 18 years ago I wrote:

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.

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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: LP: 1972 Cetra. Gatefold. Online acquisition (2012). 

CD: 2004 Arcangelo. Papersleeve

My first copy was the Fonit-Cetra CD acquired in 1992.  

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