Kebnekajse ~ Sweden

Resa Mot Okänt Mål (1971)

This is an album I long struggled with, having first heard it in the late 80s. Eventually I picked up the CD in 2011, and within the last couple of weeks I squeezed a +1 out of it. I think the primary issue here is the opening side. It's unlike anything else the group released, and it mars an otherwise excellent work. The album opener has an American west coast hard rocking psych vibe to it. Though strangely modern neo psychsters Dungen can portray this sound on occasion to better results. A2 is an instrumental, not bad at all, but is a bit static overall. A3 is a silly hoedown number that leads to the title track. And it's here that Kebnekaise finds its sea legs. Though the silliness factor is still in effect with the chipmunk voices. Oddly, Mikael Ramel used the same technique on his Till Dej album only one year later. Must've been a Swedish thing (and Ramel and guitarist Kenny Hakansson played together prior). No matter, as the music behind it is splendid with superb guitar. Side 2 is all aces. Mostly a hard blues rock outing, that recall fellow countrymen November at the beginning of their career. The lengthy B1 is the highlight of the album for me. After this debut, the band would embrace more their "Swedishness". To great success I might add.

Ownership: 1971 Silence (LP)

3/27/11 (first listen); 11/18/17; 3/24/24 (review)

Elefanten (1977)

Elefanten is Kebnekajse's 5th album and represents a wonderful return to form, after the somewhat middling African/world music affair Ljus fran Afrika. Elefanten is about as close to jazz rock as Kebnekajse would ever get. It's a particularly strong outing for guitarist Kenny Håkansson, who lights it up everywhere he can. Also worth noting the strong violin play from Mats Glenngård adding the folk touch one would expect to hear on an earlier Kebnekajse album. This is a very fine work, that for whatever reason isn't as highly revered as I would expect. I think it's their best album along with their self-titled second.

Ownership: 1977 Silence (LP)

1994 (first listen); 12/4/10 (review); 9/18/18

Ljus Från Afrika (1976)

Light from Africa sees Kebnekaise moving from the comforts of home and trying their hand at a completely other style. This is a pioneering world music effort, pre-dating even Embryo's attempts. I'm not too keen on it myself, but one has to admire their spirit of exploration.

Former ownership: 1976 Silence (LP) 

12/4/10 (review)

8/13/17 (new entry)

Earthstar ~ USA ~ New York

French Skyline (1979)

About 35 years ago I purchased this album new from a local store. I enjoyed it, filed, and pretty much that was the end of my Earthstar story until the CDRWL days. And it's only been in the last two years that I filled in the remaining three albums, which I've dutifully reported on here at UMR. So it's ironic that French Skyline is the last of those for me to discuss.

---2008

Earthstar is more or less the working band name for one Craig Wuest...  ...I still consider it one of the best electronic albums from the US (though recorded in Germany and France). Of course, having Klaus Schulze produce the album probably helped immensely. It's a powerful album in the Berlin School style.

---3/21/24

In hearing this album for the first time in 16 years, the Schulze effect is very prominent on the suite known as 'Latin Sirens Face the Wall'. It could very well be an archival release from the Timewind sessions. It's really the only piece in Wuest's oeuvre that isn't highly original. The title suite is more diverse recalling their debut Salterbarty Tales, and is what makes this album special like the others.

Ownership: 1979 Sky (LP); 2023 Made in Germany (5xCD). Details can be found on the Salterbarty entry. 

1990 (acquired); 2008; 3/21/24 (review)

Salterbarty Tales (1978)

---11/28/10

I didn't know what to expect on this rare debut by Earthstar. Would it be the Berlin School tour-de-force of French Skyline or more towards the classically oriented electronic sounds of Atomkraft? Nein, Danke!(?) The opening track had me drooling, with processed fuzz guitar mixed in with the electronics. A definite French vibe pervades similar to what Phillippe Besombes was doing with the Pole label. The next two tracks highlight piano and harpsichord respectively, and are definite proto new age songs. Following this, we are taken back to the otherworldly sounds of the first song, though this time there's oboe buried in the mix. Perhaps the best use of the instrument I've heard in an electronic setting. 

Side 2 opens with a lengthy near side-long composition that at times is sublime and combines the best elements of the 1st and 4th songs on Side 1, and also adds a bit of sequencing. The album closes on a quieter note, but still fits squarely in the cosmic music realm. I was more than pleasantly surprised by the quality of this album.

---6/10/23

I digested that one pretty well on initial impact. It possesses this murky and mysterious feel that only the French seemed to capture. It's all over the place like Humans Only, an album I've only discovered recently. It's not quite as focused though, and some of the new age bits drag on a bit. Long album clocking in at 57:35. In obtaining this LP, I thought it might result in being my favorite by Earthstar, but that title now goes to Humans Only, though this still finds itself in second place among a killer quartet of albums.

Ownership: 1978 Moontower (LP). Includes what looks like a lyric insert, though the album is entirely instrumental; 2023 Made in Germany (5xCD) Titled: Collected Works. Fat box jewel case. This package includes all four of their released studio albums plus one bonus album that was unreleased until now. Unfortunately they appear to be from vinyl rather than master tapes. The copy used for French Skyline wasn't the best either. Superior liner notes from band member Dennis Rea provide context to the history of Earthstar. I found myself relating to all of this as if I grew up with them in Utica, New York. I was in faraway Dallas, and arrived to the same musical conclusion a few years later, but much of their background was similar to my own (minus the psychedelics I hasten to add). 

11/28/10 (review); 6/10/23 (acquired / update); 3/11/24

Atomkraft? Nein, Danke! (1981)

I recently went on about Craig Wuest and his project Earthstar on the Humans Only album - one of the best personal discoveries of the last few years for me. He most certainly marched to his own drummer, though at times it's very apparent that Klaus Schulze was the field marshal. Earthstar recorded four albums, each very different from the other. Salterbarty Tales had an odd progressive rock meets New Age bent. French Skyline went all-in Berlin School, and Humans Only closed off the era with one of the most inventive electronic albums I've ever heard. But what of the 3rd, which is the subject of this post? This album also calls upon the Schulze influence, but in this case his more classically oriented works. Atomkraft? Nein, Danke! is a more somber and moody affair. More of a deep trance type listen with obvious chamber qualities such as piano and violin. This may not read very exciting, but in the hands of Wuest, the music comes to life in multiple ways. And as usual he brings along a lot of musicians to add variety and color. A true talent that is sadly forgotten today.

Ownership: 1981 Sky (LP); 2023 Made in Germany (5xCD) 

8/26/22 (acquired / review)

Humans Only (1982)

Utica, New York's finest electronic musician, Craig Wuest, had always marched to a different drummer. Earthstar's debut Salterbarty Tales has elements of the French progressive electronic masters. Somewhere along the line he befriended a one Klaus Schulze who produced his first album for the Sky label, French Skyline. Though despite the name and his debut's predilection, the album definitely fits well within the Berlin School. Their 3rd album is one I obviously need to revisit, and will refrain from comment until then.

Which gets us to Humans Only. With that title and a modern cover, I just presumed all these years this was a typical 80s throwaway electronic album, or perhaps an NDW influenced work. As I've been reliving the X Wave years, I threw this in with another purchase. No one talks it up and the grades are consistently in last place for the group. Pssst... I have a tip for you underground heads out there: This is their best album. Huh? At least as I hear it today. I think sometimes we have a pre-conceived notion that late era releases from the 80s are uniformly worse than their 70s predecessors. More often than not, that premise remains true. But sometimes...

...you get Humans Only. Earthstar here are a four piece with a cast of thousands helping out. Hard to say what Wuest was thinking when he composed this album, but he's reaching deep in the early to mid 70s here. Opener 'Rainbow Dome' and 3rd track 'Indian Dances' are upbeat, sunny, and positive pieces reflecting the mood of the era, similar to Ashra in that way. But the music recalls Mike Oldfield's Ommadawn more than anything. The second track 'Don't You Ever Wonder?' is stunning, with some beautiful song passages. And 'One Flew Over the Bridge' isn't that far behind. Side 1 is super. A feel-good underground proggy electronic album.

Then we get to side 2. Now it takes a turn for the weird. 'TV Funk' has funky rhythm guitar with Lisa Gerrard styled vocals channeling the music of SPK. What? Yea, read that one again. This leads to 'Tip Toe Funk' which doesn't have an ounce of funk. But what it does have is hardcore Krautrock, with minimalist electronics, dark atmospheres, percussion, eerie voices, and psychedelic guitar interludes. It's jaw dropping, more in the contrast of tone to the rest of the album, than evaluating it by itself. The album is backloaded with both mellotron and Birotron, the latter not something you will hear much.

You just never know where your next new brilliant album will come from. 

Ownership: 1982 Sky (LP); 2023 Made in Germany (5xCD)

2/24/22 (acquired / review); 5/1/24

2/24/22 (new entry)

Lucifer's Friend ~ Germany

Banquet (1974)

What a strange record, I'll tell you that right up front. Lucifer's Friend didn't fit neatly in a single box, having released a number of albums that spanned the musical spectrum (and yet never Krautrock strangely enough). But they usually were consistent within the album. That's not the case here. The opening track is misleading and inauspicious. Sounding like 1970 era Beatles, or maybe more to the point Wings, Lucifer's Friend offers an outdated jangly pop track. This is followed by the lengthy 'Spanish Galleon' which mixes in both jazz and brass rock to great success, while infusing a Vegas loungey vocal style. What a great mix, and we're still 4 to 5 years away from any kind of modern relevancy. 'Thus Spoke Oberon' is the highlight of the album, and takes the above track and runs it through progressive rock motifs. I had to hear this side three times straight to digest its contents. That's pretty rare nowadays. Side 2 opens with... a boogie rock track. Of course it does. It does improve as it goes which leads to the near 12 minute 'Sorrow' - yet another Tom Jones fronting Chicago meshed with Wolfgang Dauner number. 'Dirty Old Town' finishes in folk rock fashion, but does not eschew the above artistic or sound qualities. This one gets a +1 for unique and another +1 for being pleasurable to listen to.

Ownership: 1975 Passport / Billingsgate (LP)

3/20/24 (acquired / review)

Where the Groupies Killed the Blues (1972)

Way late US issue of Lucifer's Friend's second album, Passport acquires Billingsgate and subsequently gives up on the German market. They also radically reworked the original order by placing the closing ballad as the opener, among other adjustments. That makes no sense. But whatever the case, Lucifer's Friend's sophomore effort is much different than the debut. Whereas that album is a great example of German hard rock, Where the Groupies Killed the Blues is also a very nice representation of German prog rock, with touches of the former. Neither are Krautrock in the slightest. From here they went on to classic rock, and (apparently) a bit of jazz rock, though I haven't heard Banquet yet (see above). Strange band. And not really a good representation of the German scene of the era, though it appears American audiences appreciated them more at the time than some of the others. 

Ownership: 1975 Passport (LP)

7/23/23 (acquired / review)

Lucifer's Friend (1970)

If there's an album out there that clearly designates hard rock from Germany versus Krautrock, Lucifer's Friend's debut may be just that. For 1970, Lucifer's Friend paves the way for many German hard rock bands to come like Frame, Hairy Chapter, Night Sun, Gift, etc... Heavy organ and riffing guitar along with soulful, Uriah Heep-like vocals (from Englishman John Lawton) define the music. A truly groundbreaking effort that's a year ahead of the pack.

The cover is as creepy as they get, far outdoing those metal bands that try too hard for the same effect.

Ownership: 1970 Philips (LP). Embossed gatefold. 

6/4/23 (acquired / review)

I'm Just a Rock 'n' Roll Singer (1974)

This album has a major image problem. The cover, title, and band moniker are all wrong. And while it's true that the title song does have boogie rock components, it still features an excellent hard rock break. And it's not representative of the album on the whole. Only A2 is similar, and it too features a superb ending. The rest of the album is very good hard rock, and the last two tracks go completely prog, with mellotron and the works. This is only the second album I've heard by Lucifer's Friend, and it's far better than Good Time Warrior which I've already panned below. 

Ownership: 1974 Billingsgate (LP)

3/10/22 (acquired / review)

Good Time Warrior (1978)

I'm not really that familiar with Lucifer's Friend, though I know this is way past their prime. For all of side 1 and half of side 2, it's an embarrassing display of radio friendly boogie tunes. I mean, these Germans came from the same era as the Scorpions and had the right moniker to take it to the next heavy level. But they chose to sell out, and it didn't work for them at the time, and history will be even less kind. The final 10 minute cut 'Warriors' has some quality moments, leaving one wishing for more. A waste of yet another cool lady fishnet cover (remember Blister Chap?). 

Source: 1978 Elektra promo (LP)

12/2/21 (review)

6/5/23 (new entry)

Superior ~ Germany

Behind (1995)

Superior came around at a time when prog metal was gaining momentum. The genre wasn't flooded yet with copycats, and originality was still something to strive for. You basically had three schools of this blend going at the time: Fates Warning with its more gritty Iron Maiden styled approach; Dream Theater with its ultra technical yet slick displays of talent; and technical thrash as first introduced by Watchtower. It was this latter bunch that was all the rage in the late 80s and early 90s, which in retrospect is very surprising. But Dream Theater styled, not so much at the time. 

Behind is a solid mix of tunes, with fat riffs and - dare I say - a superior vocalist. Keyboards are usually the simple piano with occasional synth. Not much in the way of showoffy instrumental work, the album is more about atmosphere and heaviness. And it's very catchy too. As the album went on, I was reminded more of Savatage on Hall of the Mountain King. Savatage is a borderline prog group, more being the pioneers of US power metal. But that's your storyline behind Superior.

Had this album come out in the last 25 years, I'd probably be less impressed, but as one of the originators it brings back memories for me of an exciting time of music progression.

Ownership: 1995 private (CD). With lyrics and recording details. This was another surprise for me. When I started adding my collection to Discogs in 2016, this CD wasn't in there. In fact, it was listed as from 1996 and the primary was on T&T. I purchased this from Dream Disc real time in '95 (and the disc face shows a 95 date). I've been lazy in not adding photos of it. I didn't realize at the time that Superior had self-financed their way originally.

1995; 10/16/14; 3/19/24 (review / new entry)

St. Elmo's Fire ~ USA ~ Cleveland, Ohio ~ Iowa

Artifacts of Passion (2001)

Four months ago, for Groovector's Ultramarine, I wrote: ""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."

Make that Part 3. For whatever reason there's a part of my collection from 2001 I never revisited. Artifacts of Passion represents a reunion effort, as it were, with mostly reworked versions of older compositions going back to the late 70s and early 80s. A couple of these made the Live at Cleveland Agora EP, but even those tracks are much different here. Though a modern recording in 2001, one could almost view this as an archival release. The sounds are pure analog, and it's as if the prior 20 years didn't happen. Plenty of mellotron and violin to offset the usual rock based instrumentation. Their music is very much a product of the American Midwest and overtures to King Crimson, Genesis, and Yes are apparent. The album is mostly instrumental with the exception of 'The Nemo Syndrome'. Artifacts of Passion is one of those albums that slipped through the cracks of time, but is a fine representation of the type of American progressive rock that existed in the late 70s.

Ownership: 2001 Sprawling Productions (CD). Booklet with recording details and historical references. My copy came with two postcards, one signed by band leader Paul Kollar.

2001; 3/12/24 (review)

Live at the Cleveland Agora / Splitting Ions in the Ether (1980 / 1998)

Live at the Cleveland Agora is St. Elmo's debut album from this fine progressive rock band from the namesake city. It would be their only album during their original tenure. Released privately, it was a four song instrumental EP that demonstrated a band with immense talent, captured live. Because of this, the sound quality isn't the best, and you get the feeling the band still needed a bit more time to work out the compositions. Since it's instrumental - but not a jam record - then melody and structure will need to carry the load. There are times here when one expects a vocal passage, or perhaps another theme break. It doesn't help that the tracks are fairly longish. Musically it's influenced by the usual UK suspects, just as every other progressive rock band from the Midwest were. St. Elmo's Fire incorporated a bit more King Crimson than usual, and one can also trace a bit of late 70s Rush in the grooves. Overall, Live at the Cleveland Agora is a fine EP, and worth seeking out on its own.

The band were to reform some 18 years later in Iowa (at least administratively), and rather than reissue the EP alone, they added the full concert plus three more tracks taken from two other shows in 1980. They also rechristened the album Splitting Ions in the Ether and added new artwork. The nice tracks on display here are similar to the EP, but elongated even further since the two tracks left off were also the lengthiest. The odd thing about these two is they sound better than the four tracks from the EP, which have remained somewhat distorted even into the digital age. The other three songs are musically similar and 'Gone to Ground in the Khyber Pass' (left off from the EP) might be their best composition on here. Definitely the CD is the way to go if looking for ownership.

Ownership: 1980 Corposant (LP); 1998 Sprawling Productions (CD)

1992 (acquired); 1998; 2//09; 9/18/17 (review)

9/18/17 (new entry)

Bella Band ~ Italy

Bella Band (1978)

Bella Band's sole album is always better than I think it is. Part of that thought process is the album was originally on Cramps, so my mind immediately goes to avant prog, and conclude it's more arty than I tend to prefer. But that's not the case at all. Bella Band is an all instrumental high energy jazz rock with saxophone, Clavinet, Rhodes, fiery guitar, and a busy rhythm section. Melody is front and center at all times. I'm most reminded of early Passport, when they were at their peak of rock creativity (Second Passport in particular). Less slick than the 1978 date infers. 

Ownership: 1994 Mercury / Cramps (CD). 

The first copy I owned was the original LP (1992). It was an early casualty of my CD replacement program (1995). At this point, I'm fine either way, but if a clean and reasonably priced LP is floated my way, I'll swap back since the CD offers little else.

1992 (first acquired); 1995; 2009; 3/8/24 (review / new entry)

Catharsis ~ France

Catharsis Volume II "Les Chevrons" (1972)

Catharsis' second album is quite simply music for liquid light shows. Head music as they would call it back in the day. I found this to be an improvement from their debut Masq. The instrumental psychedelic rock music of Les Chevrons is more compact, and demonstrate more compositional quality than the strictly atmospheric Masq. The title track, with its haunting organ melody, is particularly memorable. This isn't meant to be challenging prog music. Kick back, digest your beverage of choice, and let the music take you to new places you haven't been. Or at least enjoy the slide projector.

Ownership: 

1975 Festival (LP). Gatefold.

1990 Griffe (CD). Includes all of Masq and three different songs from various singles.

1994 (acquired); 4/3/13; 3/3/24 (review)

Vol. 4: Illuminations (1972)

Even though this is Catharsis' 4th album, and many online discographies list the album from 1975 - in reality it was recorded at the same time as their first three albums (including an EP). Musically it ties closest to their debut Masq. Essentially it's atmospheric rock music with wordless female vocals and a psychedelic backdrop. Not the kind of album to knock your socks off (presuming you would want such an occurrence), but for a pleasant mid-evening listening session, it serves its purpose.

Ownership: 1975 Festival (LP). Gatefold. 

1996 (acquired); 11/18/20 (review)

Catharsis Masq (1971)

Catharsis' debut is like an imaginary instrumental psychedelic soundtrack album, with wordless female vocals. 1969 Pink Floyd plays a huge role in their sound at this point in their career. It's mostly atmospheric, and doesn't offer much detail for the attentive listener. However, as background music while driving, it more than serves its purpose. 'Tunnel Extatique' is certainly the highlight of the four track set.

Ownership: 1990 Griffe (CD). Includes Les Chevrons. The title is a bit misleading because it indicates that you are also receiving the 3rd album - an EP called '32 Mars'. This is not the case. Rather you receive three singles, including the aforementioned 'Masq', in addition to the single edit version of 'Les Chevrons' and, of course, '32 Mars'.

1993 (first acquired); 1998; 4/3/13; 9/1/19 (review)

Three of the early Catharsis albums were self-titled, so when Festival reissued their early albums in 1975, they appended titles to them. Those names stuck, as that's how most collectors refer to their albums by. Catharsis were a relatively popular band in their day with six albums and 13 singles, not counting the many collaborations they were involved in.

Other albums I own and need to review: Le Bolero du Veau des Dames; Et S'aimer Et Mourir

9/1/19 (new entry)

The Masters of Deceit ~ USA ~ Indiana

Hensley's Electric Jazz Band & Synthetic Symphonette (1969)

The Masters of Deceit's sole album is yet another wonder from the interior of America, in this case Indiana. When hearing Hensley's Electric Jazz Band & Synthetic Symphonette, the first thought that comes to mind is Soft Machine's debut, an album they must've digested before heading to the studio. As with the origins of Canterbury, The Masters of Deceit are heavily influenced by both jazz and psychedelic, but their music squarely belongs to the early days of progressive rock. Plenty of jazz psych jams and whimsical tunes  featuring clavinet, vintage organ, and electric guitar. The rhythms are distinctly from the jazz school. File alongside The United States of America, Listening, After All, Brimstone, The Spoils of War, and other pioneering American prog groups.

Ownership: 1969 Vanguard (LP). Uni-pak gatefold. 

2003 (acquired); 3/2/24 (review / new entry)

Libra ~ Italy

Musica e Parole (1975)

---Apr 2005

Late entry to the Italian prog game. Related to Goblin and inexplicably signed to Motown in the US. A mix of classic complex prog (Lanzetti era PFM, Come In Un'Ultima Cena era Banco, and Cherry Five come to mind), singer songwriter, mid 70’s raw fusion, and yes, even a bit of funky business with clavinet (which would be the tie-in with the Motown crowd). 14 minute final piece 'Inquinamento' ties it all together nicely for the album’s winning cut. Not an album to change anyone’s opinion about a particular music scene, but an easy purchase for those into said scene.

---3/1/24

In hearing the album for the first time since (and I didn't even realize I penned any notes prior), I found Libra's debut a very pleasing set of tunes (+1). Classic Italian prog with a fusion edge. It was released at a time when prog was waning in Italy, but still had enough of an audience to allow this kind of creativity to exist. Motown signed them to a 10 album contract, which doesn't make any sense at all (also - didn't they know Italian bands rarely last more than two albums?). Seems like the chemical enhancements were flowing down nicely. The funk touch on this debut is very light. 

Ownership: 2004 BMG Japan (CD). Gatefold papersleeve edition.

4//05 (acquired / review); 3/1/24 (update)

Winter Day's Nightmare (1976)

My stance has softened considerably on prog bands who were trying to stay relevant with more commercial material. And that's exactly what Winter Day's Nightmare is. However, in this case, the material is pretty weak. It's not very catchy. In fact, it's a bit irritating almost. Side 2 has some elements that raised the rating (nice guitar work for example), but not near enough to keep. How odd was it that this Italian prog band ended up on Motown anyway?

Source: 1976 Motown (LP)

3/21/23 (review)

3/2/24 (new entry)