Aria Palea ~ Italy

Zoicekardi'a (1996)

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: 1996 Lizard (CD). Lyric booklet with photos.

8//96 (first acquired); 9/28/24 (review)

Danze d'Ansie (1998)

As I've mentioned a few times before, the 1990s hold many prog rock gems that were little known even back then, and now have been completely forgotten. Aria Palea is one of those bands. They released two albums in the late 90s and basically disappeared save perhaps a comp contribution. Many of the 90s bands took a page from the 70s Italian prog cookbook and then proceeded to record using modern production techniques. Not Aria Palea. While it's not retro prog in the purest sense, it definitely sounds more like an earlier album. The primary reason for this perception is that the predominant lead instrument is the flute, one of those timeless sounds that transcends current fads. The other is the decidedly Demetrio Stratos styled vocals, using a similar affectation. While not near as demonstrative as Alberto Piras (Deus Ex Machina), the overall impression remains. There's plenty of guitar to savor as well. 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.

Ownership: 1998 Lizard (CD). Unique die-cut-in-the-center lyric booklet.

1998 (first acquired); 11/6/20 (review)

11/6/20 (new entry)

Espiritu ~ Argentina

Crisalida (1975)

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: 1989 Music Hall (CD)

1990 (acquired); 9/24/24 (review)

Libre y Natural (1976)

Espiritu's second album is 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. Not the best Argentina has to offer when it comes to progressive rock, but certainly worth the effort to hear on occasion.

Former ownership: 1997 Microfon / Sony (CD)

2//96 (acquired); 6/30/16 (review); 9/15/24 (update)

6/30/16 (new entry)

Bi Kyo Ran ~ Japan

Who Ma Live Vol. 2. (1982-1983)

There was a time when I was really into these type of mostly instrumental King Crimson bands. Borrowing heavy from KC's Starless and Bible Black era, Bi Kyo Ran mixed the rigid discipline of angular and circular guitar patterns with that of free improvisation. It's another type of sound that I have too much of, even though Who Ma is a fine example of the style - once you adjust your ears to both the sound recording and the odd vocal patterns.

Former ownership: 1993 Belle Antique (CD). Also once had the LP.

1993 (acquired); 9/20/24 (review)

Kyobo na Ongaku (1997)

Bi Kyo Ran burst onto the scene in the early 1980s with an album that was very much patterned after King Crimson's Larks Tongues to Red era. After experimenting with that sound further and bringing in some different styles, Kyobo na Ongaku is a return to the debut. It's a very intense work, perhaps exhausting at times, but adding a full time 4th member on keyboards does help break the monotony. And since his keyboard of choice is mellotron, that helps even more with softening the constant barrage of guitar, bass, and drums.

Former ownership: 1997 Freiheit (CD). Booklet with lyrics in Japanese. This is the original pressing. One year later, Musea issued it under the title A Violent Music. My copy did not have an obi - nor does any other copy I have seen. 

1998 (acquired); 12/11/20 (review)

Also own and need to review: Bi Kyo Ran (1982); Parallax

12/11/20 (new entry)

2024 Classic rock / AOR Journal Vol. 2 - Complete

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.

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.

*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 ~ USA ~ Kansas City, Missouri

Kiss Heaven Goodbye. 1978

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.

---11/7/07

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.

The CD 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.

Ownership: 2024 Cult Metal Classics (CD). Contains history, perspectives, photos, lyrics, and recording data.

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

Mahavishnu Orchestra (& related) ~ International

Visions of the Emerald Beyond (1975) 

A nice return to their Inner Mounting Flame days with perhaps more variety. I'm surprisingly not that intimate with this release, having spent much more time with the original trio, likely because I bought those LPs in college whereas this came a few years later for no particular reason other than immediate availability. And I was able to derive a +1 out of this listen while I was at it. This would prove to be the last heavy fusion effort by the ensemble. John McLaughlin was ready to move onto more mellow realms. Always liked the Legacy series. Sony were one of the first of the major labels to bring histories and other items of interest rather than just being content to pop out commodities in digital format.

Ownership: 1991 Columbia Legacy (CD). Historical liner notes.

1992 (acquired); 9/16/24 (review)

John McLaughlin - Devotion (1970)

Devotion represents McLaughlin's first major electric outing, fully embracing rock and psychedelic at this stage. This is the sound that he brought forward to Miles Davis and, most notably, Mahavishnu Orchestra. Honestly if you have an album with McLaughlin on electric guitar and Larry Young on organ, there's only going to one conclusion: Sublime. Devotion is a loosely structured album with random bits of guitar and keyboard soloing and a brilliant rhythm section. For me this is the kind of album that defines the term Jazz Rock, though more technically it should be called Rock Jazz. He would later revisit this topic on the even more explosive album with his spiritual friend Carlos Santana on Love Devotion and Surrender.

Ownership: 1972 Douglas (LP). Gatefold; 1970 Douglas (8-trk). Sealed for $1. How fun is this? I have to keep it just for the novelty of it.

9/24/92 (acquired); 4/24/95; 11/22/23 (review)

Inner Mounting Flame (1971)

As also noted in that Al Di Meola Elegant Gypsy review (lots of important data in there apparently), I discovered Mahavishnu in college via that tired discussion of who is the fastest guitarist. I had no idea even know who John McLaughlin was. I started at the beginning with Mahavishnu Orchestra, and I’m glad I did, because Inner Mounting Flame remains my favorite by the band. Really more jazz rock than jazz fusion, the rawness and intensity found here is astounding. The beginning of the genre as we know it. 100’s were to follow, but no one really topped this. Well except maybe McLaughlin's one foray with Carlos Santana. Perhaps if Larry Young had been part of Mahavishnu, it would have been the greatest ever. 

Ownership: 1971 Columbia (LP); Columbia (CD) 80s pressing

1987 (acquired); 7/25/14; 3/17/23 (review)

Also own and need to review: Birds of Fire; Love Devotion Surrender; The Lost Trident Sessions

3/17/23 (new entry)

Pinguin ~ Germany

Der Grosse Rote Vogel (1972)

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: 1972 Zebra (LP)

No legit reissues exist as of 2/22/25.

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

Ixt Adux ~ USA ~ Los Angeles, California

Brainstorm (1982)

---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: 1982 Madame X (LP). Lyric insert. 

No reissues exist as of 3/31/25.

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

Fleetwood Mac ~ England

Jumping At Shadows (1969 / 1985)

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.

Source: 1985 Varrick (LP)

9/11/24 (review)

Then Play On (1969 / 1970)

It's always interesting to hear a band's recognized classic album this late in the game. For most folks, Fleetwood Mac is associated with Stevie Nicks and their two mid 70s albums Fleetwood Mac and Rumours. I've spoken of my history with those albums already, and to this day, I still feel that I'm a bit young to appreciate them. Thrifting has given me the opportunity to hear some of their pre Stevie works such as Mystery to Me, Penguin, and Kiln House, each worse than the last. The curve ball here is Bare Trees which has some interesting, and very good, material on it. Again, I've covered off on most of these already.

But what about Then Play On? For deep divers - and for younger folks coming along way later than me - Then Play On is their best album. It has no chance of ever outranking Rumours, because iconic albums such as that get a free pass on analytical criticism, for a variety of reasons including nostalgic remembrance and group think. Problem is, because of its underground "cool" status, finding it on LP isn't easy like the others. 

My initial reaction wasn't overly positive. 'Coming Your Way' is a great hard rocking opener, but starting with 'Closing My Eyes', I was beginning to wonder what the big deal was. It's not bad or anything, just sort of ordinary blues rock. Things get interesting with the meandering psychedelic 'Underway' which is followed by the album's centerpiece 'Oh Well'. Another odd aspect of Then Play On is that none of the tracks on here were FM radio staples. At least not by the late 70s. I bring that up here at 'Oh Well' because I did recognize this song. It just wasn't by Fleetwood Mac, but rather a band called The Rockets, who covered only the rockin' part of the track in 1979. I remember it well, and enjoyed hearing it on the radio back then. Never knew who they were until now - or the source of the song. What's great about 'Oh Well' is not the rocking first third, but rather the rest, which drifts off into the pastoral countryside for the remainder.

And this is how good albums suck you in. It's subtle with Then Play On, but the album continues without rhyme or reason. The 'Madge' tracks are fantastic west coast styled psychedelic ramblers and 'Rattlesnake Shake' is a good jamming hard rocker. Well really, I could go on and on here, but there's no cohesiveness to this album whatsoever. And therein lies its charm. To me, it's amazing Fleetwood Mac ever got that far in their recording career. They were on their 11th album by the time 'Rhiannon' became a massive hit. How many great musical acts never got past one album? And here's Fleetwood Mac with a pile of mediocre to very good, but unfocused albums to their credit, before it all came together. It's like one of those football head coaches who string together many years of 8 and 8 records, only to win the Super Bowl twice in a row afterward. Obviously the talent was there all along. 

Whatever the case, glad I finally heard this one. I'll be keeping it. 

Some significant release details: The original 1969 release is different than the 1970 (& beyond) repress. And that's significant because 'Oh Well' is not on the originals. And that doesn't even get me started on the differences between the US and UK pressings, much less other countries. And then the CDs came along and mashed them all up together, but again without rhyme or reason. Like the album itself haha.

Ownership: 1976 Reprise (LP). Gatefold; Reprise (CD). 90's pressing

8/1/22 (review)

Kiln House (LP)

Finally, a new-to-me Fleetwood Mac album. But unfortunately I'm already pining for Stevie Nicks and crew. Wow - I really don't like this album. It has more in common with Bill Haley than it does anything from the 60s and 70s. Which is fine if you enjoy that sort of thing, but I don't. Kirwan doesn't get a chance to shine much here, though the one saving grace is his composition 'Tell Me All the Things You Do', the album's easy highlight. Where is Bob Welch when you need him? Great cover belies its musical content.

Source: 1970 Reprise (LP)

7/3/21 (review)

 

Bare Trees (1972)

It appears that one of my favorite pastimes is to buy Fleetwood Mac albums at thrift shops so that I can bash them here. And I always seem to find the same ones, so I never get to hear anything new. Like with Supertramp, even their most commoditized albums go for ten bucks at record shows, and even more for Rumours. In any case, this is my second go round with Bare Trees. One last try before it too finds its inevitable way to the show bin. Then a funny thing happened. I found myself actually enjoying it. Finally a Fleetwood Mac album that doesn't make me feel like a mature adult. Once it began to capture my imagination, I decided to research the history. And then it all comes together. There are three songwriters here, each very different. And that's the story of the album itself - a true transition album going from their bluesy, but loosey goosey past, onto their MOR years that the band is most known for. One is Christine McVie, the blues gal that continued (along with her then-husband John) onto to fame and fortune with the band. Her two tracks are my least favorite here. Then there's Bob Welch, the Californian whose mature songwriting foreshadowed their later work, even though he didn't stick around long enough for the big time. 'Sentimental Lady' is a great example of this, and he was able to gain some fortune for the song - but as a solo artist five years later. His other contribution is 'The Ghost', which is about as close to prog as Fleetwood Mac ever gets, and is the highlight of the album. Some fine flute helps with that perception. The other half belongs to a one Danny Kirwan, as mercurial an individual as they come, and this would be his swan song for Fleetwood Mac. And he's all over the place when it comes to style. Unfocused and unhinged. And therein lies the allure. All of his compositions are really good, without any cohesion between them. 'Danny's Chant' is downright acid rock. What?

Ownership: 1977 Reprise (LP)

5/3/21 (review)

 

Fleetwood Mac (1975)

Here's the beginning of the classic lineup with Stevie Nicks and Lindsey Buckingham. Last year I wrote in detail my thoughts of this era of Fleetwood Mac, after hearing Rumours again. This album is even more mature than that one. I presume they're playing this in Senior Centers now? I'll never be old enough to listen to this. Average at best. I just don't get it.

Source: 1975 Reprise (LP)

12/21/20 (review)

Mystery to Me (1973) 

What's a mystery to me is why Fleetwood Mac are so popular - at least after they dumped the blues. More adult contemporary music for those who are more mature than me (I sense a theme here...). I do admit to really enjoying 'Hypnotized', perhaps a luck-out track on their part. Opener 'Emerald Eyes' is good too. The rest you can have.

Source: 1973 Reprise (LP)

11/2/20 (review)

  

Rumours (1977)

It was the beginning of 1977 that I first began to listen to FM radio intently. With my new all-in-one Sanyo stereo including tape deck, the idea that I could actually tape what was on the radio was mind blowing, and given my organizational nature (even back then), I would spend hours listening for the best songs to put on compilation tapes. I think that's why my parents bought it for me. No more Genius Hans to worry about! Here's dinner under the door....

If Rumours wasn't the album played most in 1977, it certainly was in the running for top spot. The music here was really too mature for what I was looking for back then. I was all of 12, and it seemed to be massively popular not with the kids I went to school with, but rather those 3 to 10 years older. By the time I got to high school in 1979, the music world was a-changin', and Rumours was just music for older people as far as I saw it. But that didn't stop the radio from playing the hits from this album over and over. And here we are some 42 years later, and the radio still plays these songs as if that's all we want to hear. Like they locked in their play list in 1978 and refused to budge. The heyday of FM radio I guess. Similar to Watergate and investigative journalism. They want that moment in time back.

I don't and never did...want that time back, that is. Had I heard this album all the way through before? Oh probably - may have even taped it in full (ooh, Mick Fleetwood would not have liked that, no sirree). I didn't rate it, because I can't honestly say I'd heard it in recent times (recent = last 20 years).

It seems I've heard this album anyway - just through pure inculcation. Thank you K*** 105 and W*** 98, etc... For the known tracks - the inescapable ones - I would say my opinion hasn't changed much since I was 12. Guess I haven't evolved much huh? Well I know that's not true, but maybe it is with MOR records. So for my DNA, 'The Chain' is still great, and 'Dreams' I can listen to without cringing. The rest - make it stop. As for the few unknown tracks, I did find myself enjoying the last 2. Not enough to keep the album mind you. I'm not going to say this is a bad album - that's crazy. The songs are well written, but they just don't resonate with me at all. Probably how my parents felt about Elvis.

The bottom line: I'm just not old enough to listen to this. Even now.

Ownership: Warner Bros (MC). Always tempted to keep the LP's I find but this cassette is all I need.

9/14/19 (review)

9/14/19 (new entry)

Sergio Mendes ~ Brazil

Sergio Mendes & Brasil '66 - Ye-Me-Le (1969)

I've gone on plenty about Mendes in these pages. As the last five years have flown by I'm now of the mind that if you're new to collecting records, Mendes should be of the first ones you buy. They're readily available, very cheap, and brilliant musically. This is the fourth German edition I've found for Mendes, the others being Equinox, Crystal Illusions, and Primal Roots. And they all sound terrific. Ye-Me-Le is the last of the classic era Mendes albums for me to acquire, this one coming from a local vintage shop. The music is as expected, soft Bossa Nova covers of famous songs, plus a smattering of originals. Beautiful really. 

Ownership: 1969 A&M Germany (LP)

9/8/24 (acquired / review)

Sergio Mendes & Brasil '66 (1966)

I told myself that the next clean copy of this album I find then I'm buying it. And this certainly fit the bill. It's a 25 minute album, and is mostly fluff. But the best kind of fluff. Really captures the 1966 ethos, a most creative year that seems to serve as an island unto itself. Sergio Mendes & Brasil '66 is the dictionary entry for Bossa Nova.

Ownership: 1966 A&M mono (LP)

7/12/20 (first acquired); 6/14/24 (reacquired / review)

Sergio Mendes & Brasil '66 - Stillness (1970)

One of the classic era Mendes I still didn't have. While Mendes' 60s works are ubiquitous, once the decade flipped over, his sales clearly must have gone down, as not all of his albums are as readily available. In addition, Mendes was messing with the formula a bit here. Less of the easy listening bossa nova - or even the psychedelics of Crystal Illusion - and more of the earthy folky sounds of the 1970 pop era. It's all very well done, perhaps a bit too serious, and none of the hair raising inner-child melodies of the past. 

I may try for this title again in the future.

Former ownership: 1970 A&M (LP)

3/19/23 (acquired / review)

Sergio Mendes & Brasil '66 - Fool on the Hill (1968)

After hearing Equinox, I made the decision to hear all the Mendes albums, as long as they were in good enough shape. Brasil '65 is great and Equinox is very good, but the Herb Alpert album lost me (reconciled since). Fool on the Hill sits between the latter and Equinox in terms of quality. It really should have been better, as it isn't quite as cover heavy and features indigenous Brazilian songwriters. I wasn't convinced after the first side, but the flip sold me. In particular I fell for - of all things - 'Scarborough Fair'. I'm a fan of the song as it is, but the bossa nova version is just too much to resist. I can listen to Lani Hall (Herb Alpert's wife) and Karen Philipp all day long. Pizzicato Five and Stereolab made a career out of borrowing from this group. 

Ownership:

1968 A&M (LP). Gatefold. 

1968 A&M (reel to reel)

12/19/20 (acquired); 6/22/22 (review)

Sergio Mendes & Brasil '66 - Look Around (1968) 

Look Around is the album between Equinox and Fool on the Hill, and is at the height of Mendes popularity. He wasn't in any mood to experiment at this point, and kept that gravy train going at full blast. This is square on Bossa Nova influenced Easy Listening music. There are no mind melting tracks like what you would find on Crystal Illusions, Primal Roots, or even Brasil '65. But it sure is enjoyable for late night listening. Not real fond of the Beatles cover here, but most of the album contains originals, and pleasant at that. And Mendes covering Bacharach's 'The Look of Love' isn't even fair. Like Metallica covering Budgie, the ingredients are too stacked in its favor to be anything but great. The cover is stunning. Late 60s fashion at its zenith. These albums would be worth quite a bit of money if they didn't sell so many of them in the first place. Of course I'm keeping it. And the fact that I mentioned Metallica and Budgie in a Mendes review makes me really happy.

Ownership: 1968 A&M (LP). Gatefold

6/26/21 (acquired / review)

Sergio Mendes & Brasil '77 - Primal Roots (1972)

This album is a huge departure from anything I've ever heard Mendes perform. Gone are the soft pop songs, and its place is a serious fusion of Brazilian folk styles. Considering that all of Side 2 is made up of one track called 'The Circle Game', you know we're thousands of miles away from Ipanema. The minute I heard the incredibly breezy 'After Sunrise' with its female la-la-la's I was triggered by a long time memory. I can remember looking for this song at some point in my life, and could never find it. It comes from something I saw on television or video, but I cannot remember what it was. I have a guess, but I'll keep that to myself for now. And the side long track is brilliant, filled to the brim with great ideas, and never lags. It's not fair to compare Primal Roots to his other work, because it's just a different animal all together. This album puts the previously reviewed Love Music into perspective. That album followed this, and is a reaction to it most likely. One serious, one complete fluff. Easy recommendation to Mendes fans, and even progressive rock and fusion collectors.

Ownership: 1972 A&M Germany (LP)

4/19/21 (acquired / review)

Sergio Mendes & Brasil '77 - Love Music (1973)

Speaking of ill-advised covers. And, in this case, I don't necessarily mean exclusively the physical package. I finally found the Mendes album that's not for me. No Bossa Nova here, not even original songs. All English language pop covers - some more known than others. Ugh - this one is way too Vegas-stagey for my tastes. OK, this one goes. I definitely preferred the follow-up Vintage '74 to this.

Former ownership: 1973 Bell Germany (LP)

4/1/21 (acquired / review)

 

Sergio Mendes & Brasil '66 - Crystal Illusions (1969)

The opener is inauspicious, and it reminded me of some of the duff tracks from Fool on the Hill. Things get on track with the Portuguese sung 'Viola'. After which, Crystal Illusions finds its groove, 'Song of No Regrets' reminds me of Burt Bacharach's 'Alfie' and is very solemn and moving. 'Salt Sea' is a stunner, the kind of song that turns me into a ball of mush. What a beautiful track. Not to be outdone, the closer of the side is 'Empty Faces', which adds some Bossa Nova to the same formula. Just breathtaking really. 'Pretty World' opens side 2 magnificently and is the kind of composition one would think only Bacharach, Hal David, and Dionne Warwick could have come up with. 'Dois Dias' is the other Portuguese track, and is oddly like 'Viola' in that it's not one of the highlights. 'You Stepped Out of a Dream' is way too saccharine, and one gets diabetes just listening to it. Then comes the closer, something entirely new for Mendes (I think). At close to 8 minutes, will it be prog? Haha, well no. It's the second half of the track that gets really interesting. There's an electric piano jam that recalls late-era Doors (a jam on a Mendes album? Who knew?), followed by some disorienting strings that is very psychedelic. Overall, a superb effort and a nice thick German copy too. This is my second favorite to date with only Brasil '65 topping it. Let's see if either get bettered (Primal Roots ended up being my favorite).

Ownership: 1969 A&M Germany (LP)

3/29/21 (acquired / review) 

Home Cooking (1976)

Picked this up with the Vintage 74 album. Ha - I guess this is the album that sees Mendes turn funk. Has some really good grooves, especially the A side instrumental closer 'Shakara'. All the same, Mendes is a pop artist professional so he's not going to let things get out of hand. Unfortunately. Plenty of Easy Listening and light Bossa Nova as well. The lady at the counter (she likes to comment on the album covers apparently) really got a kick out of the steaming oven on the back. Just as tabasco sauce is pretty wimpy compared to what's on the market, so goes Home Cooking. Good enough though. Keeper.

Ownership: 1976 Elektra (LP). Gatefold.

1/31/21 (acquired / review)

Sergio Mendes and Brasil 77 - Vintage 74 (1974)

As promised, I've been picking up Mendes albums as I see them in the thrift bins. This is actually one of his rarer titles. And with "electric fuzz guitar" listed on at least two tracks, and it's from 1974, I thought Mendes might have tried his hand at deep funk or something. Uh... no. Arguably he's no longer performing Bossa Nova anymore but rather straight up Easy Listening music. To my ears, Mendes has gone full on Burt Bacharach here, which is A-OK in my world. Pleasant female vocals over complex 60s era pop songs. It's a bit squishy in the middle, but since I can be nostalgic that way, I found this album to be pleasant, yet hardly revelatory. The older lady at the cash register (who's probably younger than me lol) thought the cover was cute. So there, it's a cute album. Not for fans of Kluster.

Ownership: 1974 Bell (LP). Gatefold.

1/30/21 (acquired / review)

Sergio Mendes & Brasil '66 - Equinox (1967)

You may recall my notes on the Brasil '65 album from last summer, and my own primordial background with Bossa Nova. This isn't really that much different, more stylized and slick perhaps, but still very enjoyable on the whole. I found this better than the more popular in-between Herb Alpert Presents album. Also, for the first time, I'm picking up some Stereolab here. Wouldn't be surprised to read that Mendes was an influence for the Groop.

Ownership: 

1967 A&M Germany (LP)

1967 A&M (reel to reel)

11/27/20 (acquired / review)
 

The Sergio Mendes Trio - Brasil '65 (1965)

The cover hypes/screams that this album is "The Greatest New South American Arrival Since Coffee!" Haha - well you know, they might have a point... Especially in 1965.

On rare occasion I travel to Sao Paulo for business. Fortunately the hotels we are allowed to stay at are quite luxurious, and this is exactly the type of music they pipe into the lounge and the restaurant. In fact, some of the music comes right off this album. I suspect it's what a tourist, or what the hotels think a tourist, might want to hear while there. I mean you can't expect them to play Modulo 1000 or Lula Cortes e Ze Remalho. Or Sepultura.

Bossa Nova pop such as this has to be some of the easiest music on the ears. The beautiful female vocals, the soothing rhythms, the soft textured acoustic guitar, the lovely piano, and the flute. It's - forgive me - So Nice.

Ownership: 1965 Capitol (LP) 

5/24/19 (acquired / review); 11/28/25

5/24/19 (new entry)

Canvas Solaris ~ USA ~ Georgia

Spatial / Design (2003)

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: 2003 Tribunal (CD)

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