Aria Palea - Zoicekardi'a. 1996 Italy

Of late I've been digging into my 90s obscure prog collection, especially from Italy. One of those bands is Aria Palea, a group who released two albums before riding off into the sunset. Both of their albums I bought real time, and then filed away to not return again for many years. Aria Palea's second album Danze D'Ansie was released in 1998 and I finally covered it again in 2020, and the review is here on UMR. I concluded that review with: "Had you told me this was an archival album from 1976 originally destined for the Grog label, I would have believed it. And that's the story line here. If you're a fan of Italian progressive rock, this is one of those hidden titles you'll want to seek out. I also have the debut, which I'll eventually need to report back on as well." There's no time like the present. It's now been 28 years since I heard this debut. Let's give it a fresh spin.

In reviewing those notes for Danze D'Ansie I called out Area, classic Italian prog, and a decidedly retro angle. Aria Palea were a pioneer in the Italian prog renaissance by ironically setting back the clock. What separates Aria Palea even further is their willingness to explore the experimental side of progressive rock, a sound we might associate more with the term Krautrock. Flute is the primary lead instrument, though when the guitar amps up, it's in the raw state we typically find in early 70s Germany. Vocals do have a Demetrio Stratos bent, and this is heard on the very first notes. Zoicekardi'a is the type of album that ages well because it's unpredictable yet pleasing to the ears.

Of interest to me is the low ratings the band receives on ProgArchives. Most of those ratings were from the early days of the site, and it shows the mindset of the era, and of the original reviewer's perspective. Had Zoicekardi'a been released in the last few years, I believe Aria Palea would fare far better based on the reviews I see there today. I've said this many times in the past, but I'm most curious if we'll see a nostalgic enthusiasm for 90s prog, like we have for the 70s and 80s. We may not, as it was a niche audience from the beginning. But there was plenty of output back then, and rabid fans (like me) paid good money for these CDs, hungry for more new progressive rock. I'm personally grateful that I hear many of these albums better now than ever. The perfect reason to own something rather than rent.

Ownership: CD: 1996 Lizard. Jewel case. Lyric booklet with photos.

8//96 (first listen); 9/28/24 (review / new entry)

Espiritu - Crisalida. 1975 Argentina

Crisalida is one of those albums I've owned on CD for 34 years, but haven't heard in the last 20 (2004 being the first year I journaled every listen). And despite the lengthy gap, I found myself recognizing most of the album as it went on. Such was the era when we had less, so there was more repetition per album.

I noted for Espiritu's second album: "an intriguing mix of Relayer-era Yes blended with Argentine singer songwriter tendencies. Libre y Natural can be weighed down by the latter, especially as it drifts towards pop realms with whiny dramatic vocals, only to be reeled back with some fine Moog soloing, wicked bass, and odd rhythms." On this debut they sound far more like an Italian prog band, rather than the more established acts of the day, which they were to pursue on Libre y Natural. I would submit that their opening salvo was a consequence of their culture versus a concerted effort to sound that way. They also stayed primarily within the progressive rock rails eschewing the temptation for pop stardom. What you get here are the trademarks of the Italian scene: Stop-start rhythms, severe dynamic changes, dramatic vocals, and a reckless seeking of new ideas without an end game in sight. All positives as far as I'm concerned. Crisalida is an album that has aged very well for me. +1 after all these years.

Ownership: CD: 1989 Music Hall (USA). Jewel case with booklet that is blank inside.

1990 (first listen); 9/24/24 (review / new entry)

2024 Classic rock / AOR Journal Vol. 2 - Complete

Fleetwood Mac - Jumping Shadows. 1985 Varrick (LP) (1969). From a local store in Monument (Sep). This archival concert from Boston is taken from the Then Play On tour with excellent sound. The first half is very good and energetic hard rock with raw guitar from Peter Green and crew. It bogs down into straight blues by the end. Nothing at all here would indicate this band would release Rumours one day.

Rare Earth - One World. 1971 Rare Earth (LP). From an estate sale (Sep). The big hit here is 'I Just Want to Celebrate' which is definitely the best song on the album for my tastes. This is a good album but somewhat "generic Rare Earth" sounding. They were to rebound nicely on Ma, but this title is a bit mundane.

*Heart - Dreamboat Annie. Capitol (MC) (1975). Grabbed this with the Neil Young and Bad Company below (Aug). I view Heart's debut as an album of missed opportunity. It could have been - perhaps should have been - one of the all-time great 70s hard rock / prog crossover albums. The two major hits from the album 'Magic Man' and 'Crazy on You' reference both genres brilliantly. I hadn't picked up on the excellence of 'Sing Child' until last night's listen, yet another strong prog number with flute. Much of the rest is folk rock or soft rock. I can understand hedging the bet that a female lead group in the middle 70s might not be accepted into the masculine world of hard rock, but they clearly were anyway. They were truly pioneers. I'm going to keep this tape. I've had the LP a few times, but I always go for the profit.

Queen - Queen II. 2011 Hollywood (CD) (1974). Thrift shop find (Aug). Queen II is usually the prog fans first choice when talking Queen. But to my ears they sound just as much like Queen here as anywhere else. To their credit, they had a unique sound. However that sound isn't for me. They needed to release Brian May off his leash and let him rip. The 20 minute EP bonus CD is better, demonstrating Queen in a more raw state. I was surprised at the quality of the B side 45 'See What a Fool I've Been' which looks difficult to score as an original.

REO Speedwagon - You Get What You Play For. 1977 Epic (2xLP). Garage sale (Aug). If there's ever been a band I should like but don't, it's REO Speedwagon. They're from the hardscrabble Midwest and their primary stock in trade is hard rock. But they also had this desire to play good times boogie rock, complete with pounding piano and dopey rock n' roll themes. Before disco, this was the music of choice for the party crowd. Styx did the same thing in the early to mid 70s. And that's what sinks this band for me. However the live version of 'Golden Country' - all by itself - almost had me keeping this. It's that good. More of that would have resulted in a monster outing. There were many bands in the Midwest that did just that, most privately released and very obscure.

Santana - Beyond Appearances. 1985 Columbia (LP). With the Chirco sale (Jul). I find it interesting that Carlos Santana never let go of his iconic psychedelic sound. He really could have been the tip of the spear at any kind renaissance of high quality psych and fusion in the 1980s. But he decided to play ball and follow the trends of the day. So most of the songs are boring, with cringeworthy 80s digitalitis sounds. ...And Carlos' beautiful tone when it's his turn. Oh well, he continued to stick with this formula, and it finally paid off for him personally about 15 years later. 

Chirco - Visitation. 1972 Crested Butte (LP). This was from the very large garage sale south buy (Jul). One could argue that Chirco were influenced by the James Gang. Some hard rock, a little prog, boogie, and early 70s hippy-isms. Not bad. Despite the label name, the band aren't from the remote ski town of Crested Butte, but rather Denver.

James Gang - Live in Concert. 1971 ABC (LP). One more from the same sale (Jul). The best of the three, and James Gang were naturals for the live circuit. I do like that they improvise and add energy to tracks that weren't necessarily that way in the studio. But it's still a very typical early 70s styled concert, complete with drum solo.

James Gang - Straight Shooter. 1972 ABC (LP). Found with below (Jul). Better than I thought it would be. Troiano takes over guitar from Walsh and keeps the momentum. Hodge-podge of hard rock, funk, and country rock. The latter keeping me from full enjoyment.

James Gang - Rides Again. 1970 ABC (LP). From a large garage sale haul in Monument (Jul). I had this album once in the early 90s, but decided to try it again anyway. 'The Bomber' is a fantastic example of early metal and space rock jamming. 'Funk #49' is a well known hard rock track. But mostly it's fairly average 1970 styled eclectic classic rock. Had a +1 listen and curiosity satiated, but it can go.

Neil Young with Crazy Horse - Broken Arrow. 1996 Reprise (MC). Same find as Bad Company (Jul). I do like the fuzzy guitar tone of Crazy Horse, and when they jam it's very good. But the songs are not for me. Young is one of those artists that just bugs the crap out of me, not sure why. To date though, this is the best I've heard from him. But I still haven't heard his most classic albums beyond Harvest. I'll keep trying.

Bad Company - Bad Co. 198? Swan Song (MC) (1974). From a friend's garage sale (Jul). I've somehow managed to get this far in life without hearing Bad Company's debut in full. But I recognized over half of it anyway as they've been radio staples since I was a kid. What isn't played on the radio is inferior. Just not my band.

Eagles - One of These Nights. 1975 Asylum (LP). From the same thrift shop buy as below (Jun). For a short time in the 70s there were a lot of these countryish rock bands that went all in for soft rock. Think Atlanta Rhythm Section and Ozark Mountain Daredevils. Eagles were the king of them all. Side 1 is pretty good actually including the title track. Side 2 is difficult to get through.

Bad Company - Desolation Angels. 1979 Swan Song (LP). From a large thrift shop buy (Jun). This is the only one I should have left behind, as it's only a $5 record which surprised me. Musically that's what it's worth though. I never really understood the allure of Bad Company. A very ordinary 70s rock band with a little muscle, but not enough to qualify for hard rock. Their songs do tend to stick with you... in a bad way.

Golden Earring - Cut. 1982 21/Polydor (LP). From a local store for 25 cents (Jun). I always liked the song 'Twilight Zone' which seemed to revive Golden Earring. But that's really all that's here of interest. Fairly standard early 80s blandola.

*El Chicano - Celebration. 1972 KAPP (LP). Excellent Latin rock with all the usual trappings: Hammond, percussion, Santana guitar, soulful melodies. CDs are scarce but I'd be interested in supplementing this copy. From What's Left (Jun).

A Raincoat - Digalongamacs. 1975 EMI (LP). Very odd and unique UK Baroque pop / glam like a mashup of The Beatles, ELO, and Queen. Has a quirkiness that reminds me some of the sillier UK psych outfits. Out of time for 1975 - forwards and backwards. I can't imagine who the audience for this band was, and it's possible they didn't have one. Not really my thing either but I can appreciate the creativity applied. From Dr. Boom (May).

* - Keeping for the collection

Granmax - Kiss Heaven Goodbye. 1978 USA-Missouri

It was a long time in the making, but finally Granmax's heralded second album has been reissued. Long a sought after item by hard rock collectors, prices soared to unattainable heights.

My original scratch off notes from 2007 stated: For 1978, Kiss Heaven Goodbye rocks hard and has some riffing that you may have only found on a Judas Priest album (think Stained Class) at this early date. Pretty much nonstop heavy rock, and no pub and boogie rockers to drag it down as is typical for albums such as this.

---9/16/24

There have been a few more late 70s private hard rockers I've discovered since, but Kansas City's Granmax belongs in that top tier discussion. Heavy rock was more and more prominent in the late 70s Midwest landscape, and American males everywhere were looking for an outlet to burn their pent-up energy. Borrowing from Judas Priest, Rush, Blue Oyster Cult, Budgie, Grand Funk, Kiss, Black Sabbath, and every other A-lister heavy band of the era, Kiss Heaven Goodbye was the answer to a lot of young dude's wishes. In the same way the first Van Halen was. Not every track is a winner, but even among the more mediocre tunes resides a creative riffing sequence. Granmax were ahead of their time and well positioned to go to the next step. They were auditioning for Polydor and then they disappeared without a trace. The liner notes mention it as an abrupt occurrence but do not give us details. It's easy to see how Granmax could have been peers of a group like Manilla Road, eventually going all in for heavy metal. They had the talent, the fantasy lyrics, and the masculinity to pull it off. One more tale of woe in the hard rock annals of American history.

Ownership: CD: 2024 Cult Metal Classics. Jewel case. 16 page booklet contains history, perspectives, photos, lyrics, and recording data. Also includes three bonus tracks taken from a concert of the era. These songs show the band moving more to the center, though maintaining their heaviness, demonstrating they had a desire to rise in the charts.

11/7/07 (first listen); 9/16/24 (review/new entry)

Pinguin - Der Grosse Rote Vogel. 1972 Germany

After the psych band Talix released Spuren, they reemerged as Pinguin and issued one fine album in the contemporary Krautrock field. There are six tracks that play as two side long suites. The instrumentation will be familiar to students of the genre: Hammond organ, loud and jamming electric guitar, flute, saxophone, and a thunderous rhythm section. One twist is the vocals are in German, a very unusual move at the time. Period groups such as Nosferatu, Os Mundi, Hanuman, Ikarus, and Xhol Caravan come to mind here. The music belongs as much to progressive rock as it to does to the more atmospheric Krautrock tag, as there's plenty of complexity brought forth. I'm reminded of Inside era Eloy in this way. The second side demonstrates more of the Krautrock experimentalism that we've come to expect. Closer 'Der Traum' is a trippy and jazzy piece with phased vocals. Great album throughout.

Ownership: LP: 1972 Zebra. Single sleeve with original Zebra inner. Online acquisition (2005).

No legit reissues exist as I enter this post. Looks like I haven't heard it since I first bought the LP. That's just crazy... 

3//05 (first listen); 9/13/24 (review/new entry)

Ixt Adux - Brainstorm. 1982 USA-California

---3/6/11

Long Beach, California based Ixt Adux were yet another late 70s / early 80s American band that had absolutely no chance of commercial success. Their brand of aggressive and complex King Crimson influenced guitar-based rock (no keyboards here) will remind the listener of Midwest prog groups such as St. Elmo's Fire, October, The Inserts, and Ariel - other hopelessly obscure albums. There's even a little Canterbury undercurrent (but brash and entirely American). The vocalist definitely enjoyed listening to Van der Graaf Generator, and he employs many Hammill-like declarations. The album starts off more towards aggressive hard rock but it's a head fake, and they begin to display their complex nature on A2. There's even some nods to the avant prog genre to be found.

---9/13/24

In hearing this album for the first time in 13 years, I find myself at a +1. Challenging and unique, Ixt Adux were seeking a niche audience inside of a niche audience. Great stuff.

Ownership: LP: 1982 Madame X. Single sleeve with lyric insert. Mail order acquisition (1992).

No reissues exist as I enter this post.

2//92 (first listen); 3/6/11 (review); 9/13/24 (update/new entry)

Canvas Solaris - Spatial / Design. 2003 USA-Georgia

Spatial / Design is the debut for Canvas Solaris and also my introduction to the band. The type of hyper complex yet messy thrash that Canvas Solaris were peddling in, had mostly stopped a decade prior. It was a welcome reprieve to the onslaught of the same old power and prog metal albums saturating the shelves during that era. Not only is this complicated but there are no vocals either, so the music has to carry the weight. Similar to Spastic Ink in that way. But whereas the latter was too much guitar soloing, Canvas Solaris manages to keep it grounded with the almighty riff and they even throw in a melody or two. Admittedly there's nothing that memorable here, yet it still remains highly satisfying on two straight listens. I think the EP format is perfect for music such as this. 26 minutes of tech thrash is like a triple album's worth of classic rock. I continued with the group and own two more of their albums, which I certainly need to revisit. I recall those being more professional perhaps to their detriment.

Ownership: CD: 2003 Tribunal. Jewel case. You can still find this CD for pennies which seems criminal. Demand should be higher.

2004 (first listen); 9/1/24 (review/new entry)