Saga ~ Canada ~ Toronto, Ontario

Silent Knight (1980)

Saga's third album demonstrates the gradual maturity of the band. The songwriting continues to improve and the playing is crisp and tight. The melodies tend to stick longer but they never let go of their progressive rock tendencies. 'Don't Be Late' was one of the group's signature tracks. This was to be Jim Gilmour's debut with Saga, and his keyboards were the final piece of the puzzle. Silent Knight didn't break Saga but their exposure continued to grow, playing live with other Canadian notables. Their next album World's Apart broke them out globally and they were to be one of the defining rock acts of the early 80s.

Ownership: 1980 Maze (LP). Lyric inner bag. 

1992 (first acquired); 6/28/24 (review)

Behaviour (1985)

By the time Behaviour was released I was an entrenched Saga fan. World's Apart and especially Heads or Tales were (and remain) very important albums in my collection. As mentioned many times here already, 1985 was a pivotal year for my musical development, and I consider it the time I began my deep dive into progressive rock. So when I saw the new Saga at the record store, I looked at it closely, and said no way. It just didn't feel right. 38 years later, I grabbed one for a buck at the Austin Record show to see if I had made a mistake all those years ago. Nope - it ended up sounding exactly what I thought it might sound like. My instincts proved correct. The production is completely overdone and Gilmour's keyboard tones are awful. And Negus sounds like he's drumming echoed pillows. Only Michael Sadler sounds the same, bringing his unique vocal style to what sounds like an Atari soundtrack. I found myself enjoying Side 2 more than the first - perhaps the shock factor had worn off by then. These guys could still write decent tunes even at this point, so it's a good album overall. Not enough to keep. And while I can be apologetic about it today, 38 years ago I would have abhorred it.

Source: 1985 Portrait (LP)

6/17/23 (review)

Saga (1978)

When I started crate digging again in earnest four years ago, I had my sights set on obtaining the first three Saga albums. Like just about everyone else, I discovered Saga on Worlds Apart. I tell that story on that entry, and I was a senior in high school when they broke big. That album along with the even better Heads or Tales sold gobs of copy, and are found in just about every record store. But the first three - similar to Styx in that way - sold enough to stay alive but weren't blockbusters. So they're far more elusive in the wilds (though not expensive if mail ordering).

Parallel to this is the music appreciation of these albums. I had been told - and I think many experienced this as well - that Saga started as a prog band. That they weren't near as commercial as they were to become. Well hot damn! I already really enjoyed Worlds Apart (more now than back then), so these must be magnificent. Ehh... no. Not no in that they aren't very good, but no in that they aren't any different. Which is the great storyline here. For 1978, Saga was predicting the future of music by at least four years. This isn't the Midwest pomp of Styx or Kansas, but rather the global AOR / MTV sound of 1982. Way ahead of their time, Saga were already using punchy guitar lines and synthesizers crammed into compact radio friendly tunes. And they were always good at adding a touch of sophistication to their compositions, going far beyond pandering to the masses. Which is their secret sauce and makes them so endearing all these years later. There's even a dash of Gentle Giant especially when you consider the counterpoint vocal lines. The verdict? This is exactly what I'd hoped to hear. When I first heard them in the late 80s I was mightily disappointed, mainly due to the poor expectation setting. Had I known that these early albums were very similar, I probably would have passed back then. But now I hear it as one more great album in their repertoire. 

Ownership: 1978 Polydor (LP). Lyric inner. 

3/25/23 (review)

Worlds Apart (1981)

Worlds Apart was my introduction to Saga, and I'd guess it was many American's first exposure to this fine band. I have so many fond memories of this album. I would go so far as to say that it defines the fall of 1982 for me, the first semester of my senior year in high school. Saga perfectly captured the era in which it lived. It's punchy and catchy, and the production and sound textures are early 80s all the way. Meanwhile they added just enough prog to keep it interesting for deep dive listeners like myself. I dubbed my LP copy onto cassette and used to play it in the car all the time - turned on many friends to Saga back in those days. I wonder if they remember that as well? Seriously doubt it. To reminisce on the car driving aspect, I listened to the CD around town while running errands. Good times. 

Ownership: 1981 Maze (LP); Portrait (CD)

9//82; 7/14/14; 2/12/22 (review)

House of Cards (2001)

Saga is one of those time-and-place bands for me. I'm not sure they would have registered at all had they not been part of a great time of my life. Worlds Apart is one of many albums that represents my senior year in high school. And Heads or Tales does the same for my freshmen year in college. Instincts told me to avoid Behaviour when it came around (1985), and it appears that was the right move (ed: confirmed in 2023). And that was it for me and Saga. A few years ago, I bought a CD collection that included Full Circle (1999). It was pretty good, but it didn't have the magic. It was still in the sell bin (gone now), and I thought to myself I should hear it one more time. Nope. It's just not there for me. For whatever reason I decided to pull for House of Cards anyway, since I saw it going for cheap. It's only two years later, how much better can it be? A lot. This is the Saga I know and love. They really recaptured the magic of 1981 to 1984. Maybe not every song is great as it was in the past, but mostly it has that staccato guitar, cheap synthesizer sound, and excellent melodies thing going on. And Michael Sadler sounds exactly the same. Made me feel 18 again. If you're like me and early 80s Saga is in your strike zone, and you forgot all about them since, this would be a good way to spend your loose change.

Ownership: 2001 Steamhammer (CD). Hardbound cover.

5/12/20 (review)

Other albums I own and need to review: Images at Twilight; Heads or Tales

5/12/20 (new entry)

Camel ~ England

A Live Record (1978)

I hadn't heard this prior, and rarely these days do I have the patience to sit through two albums worth of live material that I'm largely already familiar with. A Live Record passed the key test: Is it unique enough from the studio versions for repeat visits? And I'd submit yes it is. Solid representation from their five previous studio albums, with one album dedicated to The Snow Goose suite.

Ownership: 1978 Decca Europe (2xLP) Gatefold.

6/24/24 (acquired / review)

Rain Dances (1977)

Rain Dances, Camel's 5th album, is where Camel wandered over the line from all-in progressive rock to that of AOR / FM music. Well sort of. They could be considered what is now known as Yacht Rock, or even more to the point, Yacht Prog. So yes, you can place Camel now in the company of Fruupp, Kestrel, Sebastian Hardie, and the rest of them. Latimer gives the game away on the back cover, though they are a bit scruffy to allow on the boat it would seem. Maybe they can work in the steam room?

If we're honest, Camel had always leaned in to the melodic side of the house. Herky-jerky rhythms and impossible compositions were never their forte. They just mastered their craft better here. And I have to think Latimer spent a little time digesting some of Santana's guitar licks before heading into the studio. Adding Canterbury stalwart Richard Sinclair was the right move at the right time. One of the few British singers who actually sounds like he lives there, his soothing tone is perfect for the soundscapes Camel are painting. There are a couple of overt plays for radio that didn't really stick (I can't recall ever hearing Camel on the radio growing up in the late 70s), but they aren't soaked in saccharine pathetic whining, like so many of their peers were prone to do. They were to dive deeper into these waters on the also excellent Breathless, but even more brazenly commercial than here. The deal is, Camel were just damned good songwriters and musicians, so they were able to pull it off. I'd submit much better than Genesis did, though the latter clearly captured the corporate market far better. There's no accounting for good taste, now is there?

Ownership: Deram (CD) With historical retrospective and one single edit bonus track.

1996 (acquired); 2004; 6/14/20; 3/9/24 (review)

Mirage (1974)

The other day I was talking with local collector and friend Dr. Boom about Camel, and he indicated that he wasn't too enamored with them. "Too lightweight for me" he opined. That's unfortunately a common perception and criticism that Camel gets tagged with. Even for myself, when I think about Camel, it does occur to me they are on the softer end of the progressive rock spectrum. But are they really? I think Snow Goose and their later works adds to this notion. My introduction to Camel was via this LP, and thank goodness for that. For me it's a foundational album to my overall appreciation of music. I suggested to him that he at least revisit Mirage. Especially side 2. I think you'll walk away with a different experience. We'll see if he takes me up on that suggestion.

For my tastes, Mirage is in my Top 50, and maybe even Top 25. 'Supertwister' seems to represent half of my late 70s and 80s instrumental Continental European prog collection, such was the impact it had on a global scale. Though, in retrospect, it would appear they were influenced here by none other than Tonton Macoute. This track is not from the Jethro Tull school of flute driven prog. As noted prior, all of Side 2 is a barnburner. 'Lady Fantasy' is absolutely bonkers, and closes the album with the stereo in flames. Nothing lightweight about Camel here.

Ownership: 

1974 Janus (LP). This is one of the very rare times where I prefer the US artwork to the European original when they are different.

1974 Deram UK (LP) 

2002 Deram UK (CD) With liner notes and four live bonus cuts that total ~29 minutes.

1984 (acquired); 2002; 1//05; 6/23/06; 1/15/14; 1/19/24 (review)

Breathless (1978)

Continuing the transition found on Rain Dances, Breathless is even more geared toward a commercial sound. In retrospect though, there's plenty of thoughtful progressions within the tight confines of their pop songs. Vestiges of their progressive rock past can be found here as well, in particular 'The Sleeper'. 'Summer Lightning' sounds like an updated and disco'd up 'Winter Wine' from Caravan's classic In the Land of Grey and Pink. Of course, now having Richard Sinclair on board has a lot to do with that perception. 

Ownership: 1978 London Japan (LP). With giant poster.

1984 (first acquired); 12/10/20 (review) 

Other albums I own and need to review: Camel (1973); The Snow Goose; Moonmadness

1/6/23 (new entry)

Golden Dragon ~ USA ~ San Francisco, California

---9/5/16

I had wondered what had happened to any of the members from the San Francisco based Filipino community band Dakila. In my mind, they were close to the top of the stack when talking Latin rock as first proposed by Santana. So I was thrilled to see the connection here, on this fine effort by the very obscure Golden Dragon.

In 1981, you still had a few artists hanging onto the original Jimi Hendrix experience as it were. Most notably Frank Marino, but even Robin Trower with his Victims of the Fury, paid homage. Of course, by 1981, this type of music was just as informed by 70s hard rock as it was late 60s heavy psych. And this is where Golden Dragon finds their sound as well. Perhaps fellow San Francisco artist Leland provides another guidepost. There was much more of this type of music to be found in the clubs of the day, but very little recorded material. A nice little LP, that could certainly use a CD reissue. The album is only 26 minutes, so hopefully there's more in the can, as they say.

Ownership: 2021 Subliminal Sounds (LP). Liner notes and photos. 

No CD as of yet (3/31/25). Given that the LP reissue does not have bonus tracks, it would seem this is all there is. That's unfortunate.

9/5/16 (review); 6/16/24 (update / new entry)

Allan Holdsworth ~ England

Velvet Darkness (1976)

I fully admit to not really being a "Holdsworth guy". I realize he was a good guitarist but his music usually leaves me wanting more. I get more satisfaction from Eric Johnson, at least he makes the effort to write a tune. When I found this debut album - on CTI no less - I figured it was worth a try (especially since I got a great deal on it). This is more like it. Really heavy fusion, just the way I like it. Raw and dirty, the exact opposite of how I would characterize Holdsworth. It came as no surprise to me to learn later that Holdsworth regretted the album, saying they were only rehearsals and not authorized for release. Once a tin ear always a tin ear. His next endeavor was the band UK, who released an excellent debut, and he whined incessantly about that too. The lesson? If Holdsworth was unhappy then I might like it! To be fair, I haven't heard that many of his albums, and the ones I did, go back to the 80s when I was in college. I'm up for hearing them all, though I'll keep expectations in check.

Back to Velvet Darkness. The album is only about 30 minutes long and that includes three acoustic interludes. The other five are the heavy pieces. One of them features Holdsworth on violin, and he's quite good at that too. 

Ownership: 1976 CTI (LP). Gatefold.

6/7/24 (review)

Atavachron (1986)

Picked this one up in Austin for $1. Perfect nick. There was a lot of fusion like this in the middle 80s. Not a big fan of the Synthaxe, which is all over this thing. The tones and production are off-putting, though I suspect the material would hold up better in an analog setting. Overall it's a pleasant listen, but nothing I need to hold onto. 

Source: 1986 Enigma (LP)

7/14/23 (review)

7/14/23 (new entry)

Quad ~ England

2 (Q) (1997)

Quad 2 starts with an Indian stringed instrument that sets the tone (or drone) while tribal drums and acid guitar slowly float the listener away. Lots of mellotron and acoustic guitar. One of the most blissfully tranced out Krautrock albums since Dom's Edge of Time.

Ownership: 1998 Prescription (LP). Numbered (theoretically, mine has a red mark in its place) with an insert. 

2004 (review); 3/18/11 (acquired / update); 6/2/24 (update)

Quad (1997)

---June 2005

Psychedelic chill out music from Sun Dial offshoot. With the female narration, you could qualify this as a modern day Galactic Supermarket. An easy formula that is rarely duplicated in these times. Plenty of great acid guitar and echoed sitars.

---1/18/20

 

Quad was a side project of Gary Ramon, basically exploring his more Krautrock preferences. In a lot of ways, Quad was to Gary Ramon / Sun Dial what Incredible Expanding Mindfuck was to Steven Wilson / Porcupine Tree. Plenty of great acid guitar and echoed sitars to submerse oneself in. A formula that is hard to master to obtain the right atmosphere. 

Ownership: 2005 Acme / Lion (CD). Has a full history of Gary Ramon and Sun Dial. 

9/23/97 (first acquired); 6//05 (review); 1/18/20 (review)

Live ICA June 1997

Quad was a side project of Gary Ramon's Sundial. The premise here is that Quad would take the neo psychedelic roots of Sundial and apply it more to a Krautrock styled sound. Their two proper albums are indeed quite excellent and do a fine job at recreating the atmosphere of a group such as Yatha Sidhra.

As far as I knew, those two albums were all they released. And even the second one is very tough to score given its limited edition. A few years ago I learned of a 3rd album, released only on CD-R. One can see why this wasn't a proper album. To be generous, I could say this was Ramon's homage to the electronic pioneers, such as Tangerine Dream circa Zeit or early Cluster. But mostly it's pretty dull to be honest, and could have used some more judicious editing and a few more ideas. But for fans of analog electronics, static as it may be, it's certainly worth seeking out for a listen.

6/9/19 (review)

6/9/19 (new entry)

Etna ~ Italy

Etna (1975)

Etna is quite simply a powerful instrumental heavy fusion album with light progressive rock touches. Elements of Return to Forever, Mahavishnu Orchestra, and fellow countrymen Perigeo and Il Baricentro abound. The proggier elements cross over into Arti & Mestieri territory. In particular I'm quite fond of the inventive bass work and the busy drumming. Essential for the style I'd submit.

Ownership: 1994 Mellow (CD)

1994 (facquired); 2003; 6/5/24 (review / new entry)

Recreation ~ Belgium

For Music or Not Music (1972)

On Recreation's second album - For Music or Not Music - the music takes a decidedly creative turn while adding guitar to the mix. An all-over-the-map type release, totaling 15 tracks, that reminds me some of Aphrodite’s Child’s 666 album, minus the pop songs. The quirkiness and overall demeanor recall some of the earlier work by Supersister. Like the debut, this is entirely instrumental.

Ownership: 1972 Barclay (LP). Gatefold.

2006 (review); 1/27/10

Don't Open / Recreation (1970)

---2006

The debut by this Belgian trio is a kick – somewhere between the avant space psych of Group 1850, the rigid metronomics of Egg, and exploito organ-led covers of classic psych tracks. Great fuzz bass and go-go organ sounds throughout.

---6/8/22

And really not much to add here. Side 1 contains the originals and Side 2 are the covers. However it should be noted that even though these latter tunes are very well known (for example The Mamas and Papas' 'California Dreamin''), the arrangements as found on Recreation are barely recognizable, making it that much more interesting.

Originally released in their native Belgium on the Triangle label as Don't Open. I prefer the German cover, so I splurged for it. 

Ownership: 1970 Bellaphon (LP)

2006 (review); 6/8/22 (update)

6/5/24 (new entry)

Galahad ~ England

In a Moment of Complete Madness (1989 / 1993)

---11/18/17

Script for a Jester's Permanent Moving Signal Waves. Yep, that's about right.

---6/3/24

So let's dig a bit deeper here. Essentially this is two different releases. One is a reissue of their debut cassette known as In a Moment of Madness. The first five tracks here come from that tape. The music is spot on Grace Under Pressure era Rush. What it lacks is the spark and urgency that Rush brought to that recording. The music here is good, but nothing to grab one's attention. The last three songs were re-recorded for this CD and show a different side of the band. Clearly Marillion and their ilk have made an impression here. The last two songs are extended epics in the early Marillion / IQ style. Perhaps this was old hat by 1993, but I still find music like this charming. Maybe this doesn't make the distance but there's still room in the collection for albums such as this.

Ownership: 1993 Avalon (CD)

11/18/17 (acquired); 6/2/24 (review)

6/2/24 (new entry)

Out of Focus (& related) ~ Germany

Out of Focus (1971)

Out of Focus' second album is largely an extension of their debut. Politically charged lyrics provide context for the Krautrock 101 sounds the band inevitably brings. As I noted on their next opus Four Letter Monday Afternoon, one can already hear Out of Focus taking the Xhol Caravan blueprint to the next level. Flute, sax, Hammond organ, and guitar are your key ingredients, with some prophetic pleas in accented English. Musically it's the 1971 German cookbook with pages dedicated to albums by Eiliff, Sunbirds, Mythos, Virus, Vinegar, Gomorrha, etc... etc... How many of these albums you needs depends on your commitment to the cause. I want them all.

Ownership: 1991 Kuckuck (CD). Paper textured booklet with recording details.

1999 (acquired); 6/2/24 (review)

Kontrast - Volume I & II (1986 / 2008)

Kontrast was Out of Focus Ver 2.0, and at this point in their career they sounded more like Embryo than Embryo did! Kontrast band leader Remigius Drechsler had been with Embryo for about a year, so perhaps not so surprising. Strong ethno prog/jazz rock with flute, sax, stringed instruments, with Asiatic / North African melodic themes. Some fusion and more than a hint of the psychedelic. Very much out of its time, and decidedly non-80s sounding.

Volume II is a full album of archival material. A bit more loose than the album proper but still satisfying.

Ownership: 2008 Cosmic Egg (CD)

2002 (first acquired); 2009; 4/19/18 (review)

Not Too Late (1974)

Out of Focus' Four Letter Monday Afternoon was a tour de force, a double album packed to the gills with invention and energy. So much so, it knocked the band themselves completely on their arse. They were spent. Or so it seemed. As we eventually found out, Out of Focus retreated to the countryside to record more material (stoned out of their mind most of the time apparently...), and played at various festivals and small gigs in obscurity. They were even spotted at one of the Umsonst & Draussen festivals in 1978, an era of the band that remains uncaptured as I write this. By 1974, one can hear Out of Focus following in the footsteps of Missus Beastly. Some of the melodies here are beautiful, and the instrumentation is fantastic. Had they spent more time arranging these compositions for proper release, I'm sure this would be a 5 star masterpiece just as Missus Beastly's Nova label album is. And that's really the only critique, is that the album meanders in jam mode for long stretches. And depending on my mood, that can be a plus too. As an archival release, it's brilliant, and captures the band at a certain time and place as they were, without editing. And the sound quality is fantastic, sounding better than many new albums did at the time. For fans of the band, an easy recommendation. Otherwise, not the place to start, as it doesn't provide the proper context.

Ownership: 2000 Cosmic Egg (CD). Historical liner notes.

2000 (acquired); 3/4/17 (review)

Four Letter Monday Afternoon (1972)

When I was first introduced to Four Letter Monday Afternoon in the 1980s, it had been described to me as a Krautrock version of Soft Machine. A local friend at the time, who is a huge fan of Soft Machine, vehemently disagreed with such an assertion, and found it somewhat offensive to compare. And while I can understand his perspective, it's also not a wild stretch to make such a claim. There is a bit of Canterbury whimsy within some of the songs, most notably 'Where Have You Been' and 'When I'm Sleeping' (bonus track). And taking the comparison further, there are long stretches of experimental rock with a jazz underpinning. But the keyword here is Krautrock, and it's clear that Out of Focus were heavily influenced by their own local contemporaries more so than what was happening in England. There's a considerable amount of stinging psychedelic guitar, echoed flutes, horn charts, and jamming Hammond throughout. And it remarkably stays within the rails for most of the duration (Side 4 the sole exception), with plenty of melodic interludes, despite being improvisational in nature. I could see this album as the logical conclusion of where Xhol Caravan was heading post Electrip, though that group decided to trip out further instead. Deep divers will also hear bands as diverse as Eiliff, Roundhouse, and Kollektiv. Honestly, I think Four Letter Monday Afternoon is entirely unique, even different from their own work, and is a great example of the exploratory spirit to be found in Germany at that time.

Ownership: 1992 Kuckuck (CD)

1998 (acquired); 7/12/06; 10/23/16 (review)

Other albums I own and need to review: Wake Up; Rat Roads

10/23/16 (new entry) 

Gonzalez ~ England

Our Only Weapon is Our Music (1975)

With a cover like that, and considering the group moniker plus the title, there's no way this album isn't going to be a winner. This will be a Latin rock extravaganza, right?

Not really. At first I was a bit disappointed, but as I played through it a couple of times, I warmed up to it quite a bit. The first name I recognized after finding the album was vocalist Lenny Zakatek. Who's that? Ah, he's one of the primary singers on some of the classic Alan Parsons Project albums, including their funk classic 'I Wouldn't Want to Be Like You'. Apparently Parsons was producing an album next door when he heard the band rehearsing. And that funk leaning is exactly where Gonzalez sits. Their music is more Latin funk meets fusion than rock oriented. Side 1 is still a bit marginal for my tastes with a couple of highlights, but Side 2 is almost all aces. Especially the last three tracks. 'Ahwai Five O' (lol, named after guitarist and composer Robert Ahwai) is a really fine instrumental fusion number. 'Crystal Blue Persuasion' reminds me of Malo when in a similar Latin pop mood. The album would have been better served had it featured some ripping guitar solos in the Santana mode, but that's not what Gonzalez were about. Naturally the band went on after this and tried to capture the disco market with limited success. I still want to hear them if afforded the chance.

Ownership: 1977 EMI America (LP)

6/1/24 (acquired / review / new entry)

Atomic Rooster (& related) ~ England

Hard Stuff - Bulletproof (1972)

Hard Stuff is essentially Atomic Rooster without Vincent Crane. Though without the latter, you don't have Atomic Rooster. In any case, that band was a power trio with an organ, guitar, drums lineup. Hard Stuff is a traditional guitar-bass-drums setup. Perhaps because there is no keyboards, Hard Stuff doesn't even bother with proggy nonsense. This is straight up hard rock, no chaser. Up there with the boneheaded best like May Blitz, Elias Hulk, Pinnacle, and the rest of them. Were any of these tracks on a private 45 release from the States, you could pretty much bet that it's $500 to get in the door, and a lot more at the tables.

Ownership: 1972 Purple (LP). Gatefold. Interesting to note this album has never been issued here in the US. 

6/1/24 (acquired / review)

Atomic Roooster (1970)

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: 2017 Esoteric (4xCD) Box set entitled Sleeping for Years. Includes a full history, all five of their original incarnation albums, and copious bonus tracks. Includes three 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 (first acquired); 5/25/17; 8/27/23 (review)

Atomic Rooster (1980)

A very interesting curveball from the music scene that was 1980 England. Atomic Rooster felt they belonged closer to the new metal and punk movements rather than the old dinosaur keyboard rock of Rainbow or ELP. So they went about releasing a very hard hitting rock album, with sneering vocals, guitars, and... Hammond Organ. What? The latter from band leader Vincent Crane is the x-factor here. A complete throwback to 1972 in an otherwise heroic attempt to be relevant. Which probably explains why Atomic Rooster could never get over the hump to the next level. As with White Spirit, they were no Judas Priest. In retrospect though, it's a very cool anomaly. Paved the way for the 90s renaissance of bands such as Death Organ or jazz rock revivalists Niacin. But those were made for niche markets, not the masses that Atomic Rooster were attempting to play to. And it does beg the question: Does this have the most Hammond of any rock album from the 80's? I'm thinking the answer is yes.

Ownership: 1980 EMI Germany (LP)

7/14/23 (review)

Other albums I own and need to review: Death Walks Behind You; In Hearing Of; Made in England; Nice 'n' Greasy

7/14/23 (new entry)