Ash Ra Tempel - Schwingungen. 1972 Germany

Here is the last of the classic Ash Ra Tempel albums that I hadn't added to UMR prior. Many years ago I wrote: 

Schwingungen, Ash Ra Tempel's second effort, is a vastly underrated album even by ardent fans of the band. Perhaps it's due to the absence of Klaus Schulze? The controversy here surrounds John L., Ash Ra Tempel's one and only vocalizer (singer just isn't an appropriate term here). He is, to say the least, the Krautrock movement's supreme example of a paranoid schizophrenic. For those who are familiar with the LSD ramblings of Dawn on Brainticket's Cottonwood Hill, then John L. is her male equivalent. 'Darkness: Flowers Must Die' just about says it all. And boy does John L. say it all! While a steady rhythm section chugs along (not near the intensity Schulze brought on the debut however) - there are sax bursts, fuzz guitar flashes, tribal drums, and other phased sounds and noises creating a very edgy atmosphere. Through the chaos, John L. is screaming and anguishing (through electronic effects) about the decay of cities and the Earth. Flowers must die, flowers must die", "Die, die, die, die ,die..." and all hell breaks loose. Here, Manuel Göttsching pulls off the most angry and concise guitar solo of his career, and at the end, if the listener is not left in a heap in the middle of the floor - well, they're just not getting involved! In keeping with Ash Ra Tempel's wild side/mellow side theme introduced on the first album, the flip 19 minute composition is an exercise in choral, tranquil electronic beauty - recalling Pink Floyd's Saucerful Of Secrets at their most cosmic and trippy. An album that should leave one emotionally exhausted if paying careful attention.

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All these years later, and I still get a charge out of this album. The album itself perfectly represents a time and place (early 70s Germany). And my personal history created another time and place experience with the album (this would be the later 1980s for me). Timeless.

Ownership: LP: 1972 Ohr. Gatefold. Acquired at the Sound Exchange in Houston (1988). It was on their wall and it was $20 which was a fortune back then. But I had to have it. My copy is not a cutout like the Discogs sample.

CD: 2004 Arcangelo (Japan). Papersleeve edition as part of the Ash Ra Tempel promo box set.

1//88 (first listen); 1992; 2/9/01 (review); 2004; 12/31/23 (new entry)

Djam Karet - Regenerator 3017. 2014 USA-California

Regenerator 3017 is a good example of an album I had zero recollection of. I had categorized in my space rock collection, like many of their others. Wrong. This is a mellow instrumental progressive rock, oftentimes falling into jazz fusion or even jazz funk. Plenty of great lead guitar that the band is known for, along with mellotron and thoughtful rhythms. This was their 30th Anniversary album that flew under the radar. I bought it dutifully when it came out and didn't give it the proper attention. This was to be the last Djam Karet album for me to buy, and that is likely to remain the case. I find it makes an excellent bookend to my already extensive collection by the group. A good place to rest.

Ownership: CD: 2014 HC Production. Digipak with recording info. Purchased new upon release.

11/25/14; 12/23/23 (new entry)

Dream Theater - A Change of Seasons. 1995 USA

After Falling into Infinity was released, there was a feeling of dread that Dream Theater were no more prog - or metal for that matter - but they had sold out to commercialism. It appears this EP was the band's reaction to that. "Oh no, we're still really prog and metal, ya know..." Dream Theater have always been a very self-conscious group, for better or worse. I mentioned on my review of Falling into Infinity that I had exited the bandwagon after Awake, but I had forgotten about this album (and Falling into Infinity isn't so bad really). Because I did buy A Change of Seasons real time and thought it was great. But I was really going deep into prog at this point, so it was to be the end of me and Dream Theater for another seven years. 

In hearing this album again for the first time in nine years, I found it better than my last listen. A 23 minute prog metal epic by one of the bulwarks of the business is still going to satisfy my ears all these years later. So I'm back to my original rating. The remainder of the album are cover tunes, all more or less under the guise of "bonus". I'm not usually fond of this idea, but fine, it was only to fill out the disc. And they do a good job at performing their unique interpretation of each.

Ownership: CD: 1995 EastWest. One of the few commodity CDs I plan on keeping.

1995; 6/8/14; 12/29/23 (new entry)

Latte e Miele - Papillon. 1973 Italy

Latte e Miele's second effort is a joyous and optimistic album. As with many Italian based keyboard trios of their era, Emerson, Lake, and Palmer provide the blueprint and influence. However, the culture of Italy takes over in various places, including the language and, yes, the Catholic church. Overall, Papillon is a rich, beautiful album. This isn't one for those who like a walk on the dark side. In hearing Papillon for the first time in ages, it's apparent to me that this should be mandatory listening during Christmas, as that's the season the music brings out. It's milk and honey at Grandma's house, after arriving there on a one horse open sleigh. Don't forget to bring a few bottles of red though...

Ownership: LP: 1973 Polydor. Wonderful textured gatefold with libretto. Mail order acquisition from Jeff Baker way back when (1988).

CD: 2001 Polydor (Japan). Papersleeve edition. Includes one inessential bonus track that is from a pop single.

Former ownership: LP: 1982 Polydor (Japan). Gatefold. Acquired from a friend in Japan (1999).

1988 (first listen); 2001; 12/28/23 (review / new entry)

Franco Battiato - Sulle Corde di Aries. 1973 Italy

Battiato's third effort is an otherworldly mix of primitive electronic, folk, and world music. There's really no other album quite like it, which makes it that much more interesting. I didn't have a good grasp of this album, and it's been 28 years since I last heard it. But even after this revisit, I would have a hard time articulating the music. It's almost like systems music, yet it's very warm sounding which is contradicting. From an era when exploration of sound had no boundaries.

Ownership: CD: 1992 Artis. Jewel case release. Booklet has liner notes in Italian and photos. Mastered straight from vinyl and obvious too. Mail order acquisition (1996).

I had a chance to grab the original LP in Baltimore with that large buy in 2021. It wasn't cheap and I'd already spent a fortune. And I wasn't sure this was an album I wanted to keep, but that was due to my unfamiliarity with it. Given that the CD sounds like vinyl, I should have forked over for it. Oh well, not the end of the world, but I'll be looking for it now.

1996; 12/28/23 (new entry)

Groovector - Ultramarine. 2000 Finland

"I have quite a few albums in the collection that I'm most excited to hear - many of them I anticipate are better than I have them rated. This is yet another album I haven't heard since it first came out. So 22 years later we have our second visit." - Part 2. In fact I think this was in the exact same CD order with the Hamadryad album that makes up the above quote.

I had it in my mind that Groovector were more from the psychedelic school such as Tanger or fellow countrymen Scarlet Thread. But there's almost no guitar on Ultramarine. Rather we hear a highly melodic, all instrumental progressive rock album along the lines of Gotic or Maneige. Flute, Hammond, and piano lead the parade, augmented by a competent rhythm section. Camel must be in this conversation but Groovector have a more consistent approach to their recipe. Ultramarine was a pleasant surprise for the era in which it was released. One more self-fulfilled prophesy of a +1 listen. I really need to hear these albums more frequently lol.

Groovector went on to release one more studio and one live album. I recall the second album as being very disappointing, as there was no flute and added vocals. The live album apparently is from their first line-up. I'll check them both out online when time warrants.

Ownership: CD: 2000 Mellow. Jewel case release with multi-page booklet.

2001; 12/26/23 (new entry)

Hamadryad - Conservation of Mass. 2001 Canada-Quebec

I have quite a few albums in the collection that I'm most excited to hear - many of them I anticipate are better than I have them rated. This is yet another album I haven't heard since it first came out. So 22 years later we have our second visit. I'm much more familiar with their follow up effort Safe in Conformity. My notes for that state: "Hamadryad's second album primarily swirls around the mid 70s Genesis era of Trick of the Tail. There's the faux mellotron, familiar Collins-esque vocals, and Hackett styled guitar. There's also some muscular early 70s heavy prog in the Uriah Heep sense of the word. And the other diversion is about two-thirds of the way through, where they go all-in Rush but with a bit of prog metal thrown in. It's definitely a shoehorn, but it adds diversity on a continuous listen. Safe in Conformity is the kind of album that grows in stature with time, as it has done with me. A keeper."

On their debut, Hamadryad start with a heavier Rush like sound and move gradually over to Yes, rather than Genesis. It's a busy album with lots of time changes, harmonies, instrumentation, and a myriad of ideas. There's much to absorb here. I listened twice in a row, thus tripling my familiarity lol. Easy +1 listen and my self-prophesy of the album being higher rated than I had it was fulfilled.

Ownership: CD: 2001 Unicorn. Jewel case with loaded booklet filled with lyrics, recording details, and photos. Purchase new at the time of release.

2001; 12/23/23 (new entry)

2023 Electronic Journal Vol. 1 - Complete

Cluster & Eno. 1978 Sky (1977). I'd never heard this album before, but I've never been a huge Cluster fan beyond a couple of glaring exceptions (especially Cluster II). I didn't get near as much out of this as Eno's collab with Fripp on the No Pussyfooting album. Kind of a drifting ambient album with no obvious highs. Probably would be better on CD, as the vinyl was a bit distracting for me here. I'll check it out again in that medium if the opportunity affords itself. (Dec)

Rainbow Serpent - Pulse. 2000. Manikin (CD). Collection revisit (Dec). Almost exactly 19 years ago I wrote the following: "The last of the batch, and the latest album I own by Rainbow Serpent. This is a definite step up from the other three. There's a real flow here between the tracks, with sequencers going everywhere and digital choral voice providing atmosphere. Plenty of Schulze style solos as well. Many ideas are employed, a great one to just have in the background while reading, researching, writing, etc.... This is really a fantastic release and a great example of modern electronic music." For those who cannot possibly get enough of the classic Tangerine Dream sound, I would suggest you add this title to your want list. A wire must have been crossed somewhere in my mind as Pulse ended up being my lowest rated album by the duo, even though I haven't heard most of the albums by them since then. At the time of purchase (2004) I was beginning to really load up on Berlin School Electronic albums from the renaissance era (late 90s / early 00s), so I was more enthusiastic on first listen. In reflection, Pulse is very much "in the pocket" for the style, which is great, but not great enough lol. So ironically it will be the first album not to make the cut from Rainbow Serpent. As for the other three, I've already committed to keeping Futuregate, which is the earliest one I own by them. We'll see how the other two fare soon enough. It looks like Rainbow Serpent released five more albums up through 2010 before calling it a day.

Hemisphere - Inversion. 2000 Groove Unlimited (CD). Collection revisit (Dec). This is the earliest album I've owned from Hemisphere, but this was already their 7th work. Unfortunately one of the duo, Ralf Knappe-Heinbockelt, passed away in 2005 and that was the end of Hemisphere. I kept the album after this (Now) but let go of the next one (Attachment X). I bought this at a time when I was loading up heavily on Berlin School Electronic albums in the mid 2000s. But I don't recall anything about it. Let's see where it takes me. On Inversion, Hemisphere demonstrate a patient, spacious album. The first beats and sequences don't enter in until 3). Darker shades encompass 4). Thorsten Reinhardt's guitar makes its first appearance on 5) but in a subtle manner. The music never really breaks free from there. Overall, Inversion is a moody, oppressive, and somber affair. It's a fine effort, though nothing to distinguish it for shelf space.

*Jean-Michel Jarre - Zoolook. 1984 Dreyfus (France). The elusive Jarre for my collection has finally arrived. While I continue to find multiple copies of everything around it, Zoolook was nowhere to be had. A highly experimental work from Jarre, here taking a decidedly non-commercial approach when he was at the height of his popularity. Heavy use of voice synthesizers that elevates Tangerine Dream's 'Kiew Mission' to its logical extreme. This is the type of album that one must immerse themselves in rather than sit back and let it impress you. Despite what it may read like, Zoolook was a big seller in its day and didn't derail his popularity one bit. Proving once again that if artists just follow their muse, the audience will go on the ride with them. But once you try to impress your audience, it is at that point you are lost. Good for Jarre that he stuck to his guns. Keeper for sure. (Oct)

*Klaus Schulze - Audentity. 1983 Illuminated (UK). Had some trade credit at What's Left to use, and this one came in, so thought I'd check it out again. I say again, as I'm pretty sure I had this exact version in the 80s. It's only half the album, as the German pressing is a double. Musically it's exactly what Schulze was up to in 1983, and I was reminded of his live Polish recordings from the same year. His running buddies at the time were all involved: Rainier Bloss, Michael Shrieve, and Wolfgang Tiepold (cello). Nothing groundbreaking here, and it's not likely I'll hold onto this for the long haul, but I'll find some room for now. (Oct)

Ian Boddy : Markus Reuter : Nigel Mullaney - Triptych. 2001 DiN (CD). Collection revisit (Sep). I think I mentioned before that in 2005 I went a bit crazy on obtaining progressive electronic titles. In some cases I'm glad I did as they are going for small fortunes today (at least in CD terms). This isn't one of the rare ones - but a few on Boddy's imprint are. Nonetheless this is an album I haven't heard since first obtaining it. My scratch off notes from May 2005 say: "I was expecting a more sequencer based affair, but this is an intriguing blend of E-musik sounds. Need more time with it, but a solid effort." So much for giving it more time. Here I am absorbing the album for a second visit. I'm not overly keen on the first two tracks totaling close to 33 minutes. 'Mystertronic' is a sort of electronic jazz fusion mix that doesn't sound very pleasant to my ears. The next 25 minutes are the Triptych triptych lol. These trio of songs are much trippier, and it's easy to get into the groove of 'Second Transmission'. Finale 'Ionosphere' is similar to the Triptych. Gosh if I just didn't already have sooo much music like this already. No nostalgia points either, as it's just one of hundreds buried in the collection that I have little recall of. Going to let it go - hopefully to some buyer who will appreciate it more than I have.

Michael Garrison - Prisms. 1981 Windspell. Bend, Oregon's most famous electronic music. He was there when the town had about 100 people. Haha, not really, but the city has experienced 1,000% growth since he started. Along with Steve Roach and Michael Stearns, Garrison was at the forefront of the American electronic movement of the late 70s / early 80s. This is another album I found for a dollar at the Austin Record Show. Nothing you haven't heard before, with a fine mix of melody and sequencers, all very much from the Tangerine Dream and Klaus Schulze Berlin School, one that Garrison clearly attended. Maybe a bit cutesy at times, it could have benefitted from a darker atmosphere. Despite being a private press on his own label, Garrison must have sold gobs of copy, as supply remains plentiful. Interestingly, cassette tapes of this same album are far more in demand. (Aug)

*Michael Shrieve / Steve Roach - The Leaving Time. 1988 Novus. Picked this one up for a dollar at the Austin Record Show. Anything on vinyl with Steve Roach is worth grabbing, though surprisingly this one doesn't have much monetary value. The sterilized sound from the beginning is a bit off-putting. However it gets more interesting as it goes, and David Torn's guitar is perfect for recordings such as this. Plenty of sequencers as well. Michael Shrieve was on the world tour of joining famous synthesists in the 80s apparently. Holding onto this one. (Aug)

Tangerine Dream - Optical Race. 1988 Private. I've been pleasantly surprised at my reaction to some of the post Underwater Sunlight albums. But... uh... no. This album is really cold and clinical. I've mentioned this before that I saw them live in concert to support Optical Race (1988 in Dallas). And the only parts of that concert that were yawn inducing came from this album, which they fortunately kept to a minimum. The rest was an homage to their 70s past, including Froese wailing on the guitar. None of that here! (Jul)

MAL - Compendium Maleficarum. 1981 Physiocrat. This was part of that box of free records I inherited at the last Colorado Springs show (May). There were a couple in there that I'm sure he had no intention of giving away, but lucky me. There were a lot of these privately released oddball dark albums from the 80s that would show up here and there. Especially as the decade lingered on. Today names like Minimal Synth or Minimal Wave are used. And there's an undercurrent of Goth here too. MAL stands for Michael A. Lucas, a musician from San Francisco. He brings no less than 10 guests to join in for this venture. The music is as dark as the cover and track titles suggest (which are similar to black metal bands like Bathory). With narration/semi-singing throughout. Doomy primitive synths are the primary instrumental sounds, though all those guests add much needed color. It's an interesting listen, but not necessarily compelling. I could see a parallel life where I entered into the underground via albums like this versus heavy metal, and being all-in for these kind of sounds. I know a couple of local guys who will flip when I show this to them. Somewhere between Jean-Baptiste Barriere and SPK is where you'll find MAL. Specialists could pinpoint the sound much better than I. But I can't really relate to albums like this. BTW - I had to look up what a physiocrat is: "A member of an 18th-century group of French economists who believed that agriculture was the source of all wealth and that agricultural products should be highly priced." Who knew?

Pete Bardens - Seen One Earth. 1987 Cinema/Capitol. I first bought this when it came out at Sound Warehouse in Dallas... ...along with Exodus' Pleasures of the Flesh. I remember the girl at the counter commenting on what an interesting pair of albums to buy together. I was already that way in 1987, only 22 years old. I didn't like it back then, and it doesn't do much for me now either. It's just too close to smooth jazz and glossy new age music, though I did find myself appreciating this to a +1 level. But it's still 2 points from a keeper. Found this one for $1 on the last day of the Austin show. (May)

* - Keeping for the collection

Sugarloaf - Spaceship Earth. 1971 USA-Colorado

Sugarloaf were arguably Denver's most famous 70s rock band. 'Green Eyed Lady' was a blockbuster hit, and it's also an amazingly progressive track for that era of American music history. Their second album came and went without much impact, though it obviously sold well, especially in this region where the album can still be found in thrift shops.

On that topic, I was mulling on whether or not to keep my thrift shop copy that I found a couple of years ago. It wasn't in thrift shop shape, but rather a beautiful NM. But do I really need it since have the first two albums on one CD? The answer is an astounding Yes. And why? I didn't realize the CD leaves off the second song here 'Hot Water', which was a terrible omission. There were others they could have left off, or even better, the unnecessary addition of their 1974 hit 'Don't Call Us, We'll Call You'. 'Hot Water' is a killer proggy hard rock track, so the matter is settled.

Well since I'm here, let's listen to the LP all the way through, which I've never done (just the CD version). A1 is an excellent progressive rock opener. A3 has elements of bar n' roll but is also solid hard rock. A4 starts off in 'Green Eyed Lady' territory but goes for a bluesy rock sound instead. A5 would have been a great choice for the cutting room floor. Country blues. As I've mentioned before, Colorado in the early 70s was nothing like it is today. 50 years ago, Denver was as much a country roughneck town as it was a major metropolis.

B1 once again introduces us to that beautiful organ and clavinet sound of 'Green Eyed Lady'. This is a more sincere attempt at replicating that hit than A4. B2's name isn't very enticing, and I could generously call it Southern Rock. B3 is a throwback to the jangling psych pop era with a cool Beach Boys styled harmony break. B4 is a folk / classical diversion. B5 supposedly was the hit from this album, but it's not familiar to my ears. It's also the longest track, and you begin to wonder why the band didn't just unleash back in the day, since that's what the audience was gravitating too. Ah, there's that jamming organ and guitar I've been waiting for!

How do you even classify an album like this? Those that hate genre tags would love the dilemma. I had it in my psych collection, but no way. Prog? Sort of. Classic rock? Hmmm. Hard rock? I think so - that's the closest. Kind of early-days-post-heavy-psych hard rock. Such an interesting album really.

Ownership: LP: 1971 Liberty. Rough paper gatefold. You usually find these trashed here in town, but this copy survived in beautiful shape. Thrift shop pickup (2021). I wonder if the guy on the right later regretted the photo shoot?

CD: 1997 Collectables. I've had this since it came out, and in my head I always said it was all I need. Well I may move to the LPs now. The first Sugarloaf is ubiquitous here in Colorado, it's just a matter of how much I want to pay and can I find one in decent condition? How about the bonus hit 'Don't Call Us, We'll Call You'. Yea, it's pretty good, but of little relation to the albums proper. This track was on a 1974 album with the same title, and it had been reissued already. My verdict? Label was stupid to add it and leave off  'Hot Water'.

1998; 5/19/15; 12/22/23 (new entry)

Dungen - En är för Mycket och Tusen Aldrig Nog. 2022 Sweden

For their 2016 album Haxan I wrote: "Dungen's CV for over a decade will read as a modern take on the 1971 Silence Records stable mixed with Mikael Ramel's Till Dej. The fact that the band defiantly sings in their native Swedish, and still manages to have a large cult following even here in America is something quite extraordinary."

For the 2015 album Allas Sak I stated: "Dungen continue with their brand of Swedish psychedelic progressive... pop. The latter perhaps a bit more pronounced this time."

In hearing their latest album, the above captures this album as well. At first, though, I thought Dungen might be headed in a folk rock direction, but ultimately they reel themselves back to their Swedish psychedelic pop core. I wasn't really in the market for another Dungen album, but a local record store had it, so why not give it a shot. While this isn't their best work - not even close really - it's still excellent. Which just demonstrates how high up the mountain Dungen can get at times. Hard to know when to stop with this group. They continue to age tremendously well.

Ownership: LP: 2022 Mexican Summer. Single sleeve with colorful inner bag. Acquired from Tiger Records here in town.

12/22/23 (new entry)

Juan Marquez - Marquez. 1972 Cuba

Juan Marquez was already 40 when he left his native Cuba, and three years later he released this very interesting album while living in Spain. This is a case of another establishment figure getting hip and releasing a timeless album. Think Jean-Claude Vannier, William Sheller, and Sabicas.

Marquez starts off as a fairly typical Latin jazz classical guitar type album and moves slowly over to jazz funk. By A3 you're probably wondering what the big deal is. Then comes the beautiful A4 and we're off to the races. The money side is the flip and by the end you realize you're sitting on a monster psychedelic fuzz jazz funk album like none other. Marquez is the master of pacing. The music stops, then a groove appears followed by a fuzzy solo of organ, guitar, flute, etc.... Stop - groove - jam. Those who sample beats would have a field day with this album. And it appears that yes, old man Marquez is the one laying down some pretty heavy psychedelic solos.

I had started to hear this album online, but once I did, there was no way this could be left out of the collection. No reissues exist, so I plunked down some good money for an original. It's worth it.

Ownership: LP: 1972 UA Latino. Single sleeve. Recent online acquisition as noted above (2023). There are at least four pressings of this album, the other three in various parts of Latin America. This is the kind of album you might find in a thrift shop or a clueless record store for a couple of bucks. There's no indication whatsoever that a great album sits underneath the sleeve.

12/21/23 (new entry)

Realm - Endless War. 1988 USA-Wisconsin

For their second album Suiciety I wrote (snippets of): "From a musical perspective, it's an astounding achievement... A word of caution for the newbie - the vocals are an acquired taste, just like all bands operating in this genre. He's an air raid siren for sure, but I think it fits the music perfectly. As with many albums in this space, the compositions tend to spray all over the place... In conclusion, there is simply no other album like Suiciety."

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Well except their debut of course ;-) Jim Bartz is at the controls again, but he didn't infuse this album with electronics like on Suiciety. And honestly the production could have used a boost, all lessons the band learned on their sophomore effort. But as far as the music goes, yep, it's an impenetrable mess of riffs and ideas. Albums like this grow with each listen, and I suspect that will happen here. Realm were simply one of the best at this genre. Apparently they reformed a few years ago. Would be nice to hear them try for another effort.

Ownership: LP: 1988 R/C. Single sleeve. Purchased at Joint Custody in Washington D.C. while there on business (2023).

12/20/23 (new entry)

Highway Robbery - For Love or Money. 1972 USA-California

At the end of the last Colorado Springs show three weeks ago, JL says to me "How come nobody bought this Highway Robbery album? It's killer". Umm.. yea, looks like one I missed. So I bought it! I've been working on a North American hard rock list and this title came up, so it was fresh on my mind. 

What JL says is true. His price sticker simply stated "Scorcher Hard Rock". Yep - that. Los Angeles' Highway Robbery is like Florida's Tin House. Plug in and wail. Don't need to make this complicated. Closer 'Promotion Man' will light your stereo in flames. Perhaps the real inspiration for Rush's 'Working Man'. 

RCA definitely made a try for serious hard rock: Boomerang, Granicus, Charlee, Ursa Major, and Highway Robbery, but none seemed to stick. Only their investment in the Scorpions paid off. And they lost them to Mercury eventually too.

I almost missed owning this one. Whew.

Ownership: LP: 1972 RCA. Single sleeve. Acquired as noted above.

12/21/23 (new entry)

If There's Hell Below… We're All Gonna Go, USA

So I went looking for my review of Function Underground and realized I had a solid group of albums in a roundup (I was really busy at that time last year). So I pulled it out and three others to feature here on UMR.

The impetus for that move was to state that If There's Hell Below… We're All Gonna Go makes a good companion piece to that album. The hype sticker says "Thirteen War-Drenched Acid-Fried Hendrix-Worshipping Blown-Out Free Love-Fueled Black Rock Jams That'll Freak Out Your Parents". Well... that's why they call them hype stickers.

So what do we have here? More super rare 45s compiled conveniently onto one album. The only disappointing aspect is there's no bio booklet to learn more about these bands. I realize that's what makes these compilations hard to do, but they're a heck of a lot more informative. And, honestly, I would have preferred a CD issue - with maybe a few more tracks to add on. But OK, I'll take what I can get. Because there's no way I'll ever get all of these 45s individually (if any...). 

Some of the compilations run into each other. I have different Stone Coal White and Creations Unlimited tracks on the aforementioned Function Underground album. My goodness that Creations Unlimited has to be about the best two sider ever made. The Iron Knowledge track has been featured multiple places, including the Brown Acid series.

I thought this would be more hard rock and heavy psych focused considering that hype sticker, but it's definitely more in the psych soul funk genre. In fact the first track is an easy listening instrumental. But have no fear, it's still a killer set of tunes, with lots of fuzz and booty shaking rhythms. And there are a few proto metal tracks on Side 2 after all.

Ownership: LP: 2023 Now-Again. Single sleeve. Red wax. Recent online acquisition.

12/20/23 (new entry)

Function Underground, USA

The hype sticker alone told me this would be the gem of the stack: "The Black and Brown American Rock Sound 1969-1974". My heart be still. How I love these comps, especially when they come with a booklet jam packed with historical information. I look for 45s such as these everywhere I go, and sometimes you get lucky. No one knows who they are, so they presume they're worthless. Discogs has kind of ruined that in some places, especially when they get compiled like this. Because now everyone wants them! Fortunately thrift shops don't usually bother to research, even some record stores don't! Still relying on their dogeared price guides where everything Elvis and Beatles is rare, along with a handful of garage and soul titles. But unknowns... were unknowns. So they're worthless. Thank you! This album actually starts off a bit conservative with 1984 and Purple Snow, each more towards psych soul than psych rock. But starting with Jimi Macon, things get progressively wilder. Note that first name spelling. All you need to know. The party really gets going with Creations Unlimited and peaks with Michael Liggins and the Super Souls, complete with flute, psych guitar and funky rhythms. Side 2 is no less stellar. Ebony Rhythm Band's 'Drugs Ain't Cool' sounds like Chicago's take on 'I'm a Man' only to be followed by Cisneros and Garza Group covering... 'I'm a Man'. This track also introduces the "brown" part of the album, which sadly only features 3 tracks. Highlight here might be L.A. Carnival, who also happens to have a full length archival album released by Now-Again. Ordered it last night (and it's great, need to get some notes up about it). Overall a brilliant collection if you're interested in the lo-fi, but heavily sincere, funk psych bands that only appeared on 45s.

Ownership: LP: 2017 Now-Again. Single sleeve with 16 page booklet. Purchased new (heavily discounted) at Independent Records here in Colorado Springs (2022). That store is now closed.

3/19/22 (LP 3.8); 12/20/23 (new entry)

Thirsty Moon - Blitz. 1976 Germany

After all these years, I'd never heard Thirsty Moon's 3rd album, despite being a huge fan of the two prior, especially the debut. I had expected a typical mid 70s fusion, of which I've warmed up to greatly in the last 20 years. But one title that didn't do much for me was their 4th album A Real Good Time, which has become somewhat collectable in recent times. Blitz not so much, so I figured not to spend much effort to find. That was my mistake. Information about this album tends to be scarce, but essentially it's an all instrumental rock album. Unusual in its simplicity for style, though musically it most certainly belongs to progressive rock. This is not the Krautrock style of its predecessor's nor is it fusion or symphonic either. More American or British sounding than German, and somewhat unique overall. I quite like it.

Ownership: LP: 1976 Brain. Single sleeve. Green label. Online acquisition (2022).

3/19/22 (LP 3.8); 12/20/23 (new entry)

Faithful Breath - Back on My Hill. 1980 Germany

Faithful Breath's reputation begins and ends with their debut. At least in the prog world. I've come to appreciate that album after all these years, but I didn't like it for the longest time. Because of this, I never made any effort to track down their second album. I well should have. This wasn't only a pleasant surprise, it surpassed my highest expectation. Side 1, generally derided as nothing more than basic hard rock, sounded excellent to me. More like prog hard rock. Which leaves us to the side long track, which is as proggy as anything else released in the 70s. Loaded with mellotron and wonderful symphonic music. I had to hear this side 3 times in a row. I don't do that much these days. Don't skip this title if you had similar concerns like me.

Ownership: LP: 1980 Sky. Single sleeve. Online acquisition (2022).

3/19/22 (LP 3.8); 12/20/23 (new entry)

Alpha Ralpha - 1977 France

One of the late inning CDRWL items. For whatever reason the LP itself remained elusive from my collection for many years. Alpha Ralpha's sole album is a wonderful, and perhaps pure, example of instrumental symphonic progressive rock. Given the name and cover, there's also an underlying space rock tone. The music has a warmth that was typical of the late 70s French scene, and a sound I find very appealing as I get older. In fact, it's that same type of familiarity you'll hear in newer bands such as Spain's Herba d'Hameli.

Ownership: LP: 1977 Warner Bros. Single sleeve. Online acquisition (2022). 

The album still remains without a legit reissue.

4/29/15 (CDRWL); 3/19/22 (LP 3.8); 12/20/23 (new entry)