2024 Electronic Journal Vol. 1 - Complete

Airsculpture - Thunderhead. 1998 Neu Harmony (CD). Collection revisit (Aug). Airsculpture were one of a handful of Tangerine Dream revivalists coming from Europe in the late 90s. All of their albums are very good and consistent with the Berlin School aesthetic. Airsculpture are less distinctive than their brethren such as Redshift, ARC, Radio Massacre International, and Free System Projekt. This was the first one I bought by them, but I think I'll let it go. I've purged a few others from the collection but I still have three CD's by them and I'm certain to keep at least two of those. 

*Robert Rich / Steve Roach - Strata. 1990 Hearts of Space (MC). Thrift shop find (Aug). No surprises from two veterans of the ambient scene. Rich brings the percussive elements while Stearns is the master of sleepy electronics. Hit play and doze into dreamland. I can see where cassettes are a good format for this kind of music. Flipping the cassette is the effort needed to get through it all.

x - Jo Anna Burns-Miller - Snow Flower. 1990 Little Pond (MC). From the same thrift shop, but a year ago (Jul). From Portland, Oregon all-about-me Burns-Miller proves to be boring as hell and sleep inducing. Same music on both sides for "maximum relaxation". Snore. This kind of saccharine fluff is exactly why new age music fell out of favor. 

*Suzanne Ciani - Seven Waves. 1982 Finnadar (MC). From the same thrift shop as the Roth tape (Jul). As noted on The Velocity of Love review, I was curious how her debut sounded. And I wasn't disappointed. While very much a product of the early 80's, Ciani loads up on the analog gear anyway  and creates a wonderful soothing album with emulations of "Waves". Keeping this and, as a bonus, it's going for good money these days.

Gabrielle Roth and the Mirrors - Waves. 1991 Raven (MC). Thrift shop pickup (Jul). Here's the other title I bought along with Dancing Toward the One. My suspicion of that album being an "accidental" great work appears to be correct. Here Roth goes all in Tribal, and it's annoying as hell. She seems to know her audience and is far more self-conscious of her image, none of which interests me. Gone are the psychedelic edges. She's trying real hard to be "native American" and it sounds ridiculous. You're better off buying real Native field recordings from the 1950's/1960's on Folkways.

Vangelis - L'Apocalypse des Animaux. 1981 Polydor UK (1970) (LP). Thrift shop find (Jun). Though recorded in 1970, the album wasn't originally released until 1973. This is a TV soundtrack and very much ahead of its time in using electronics to set the mood. A bit slow for listening but one can certainly admire the pioneering spirit. Along with Aphrodite's Child, Vangelis was leading the pack in creativity in the early 70s. He settled into old age too fast.

Throbbing Gristle - 20 Jazz Funk Greats + Live. 2011 Industrial (1979) (CD). Of course this is neither jazz nor funk, and the cover is purposely misleading. Complete dadaist styled music, where the band admits they're not even musicians. It's abstract experimental, minimal synth, industrial type music. There was a lot of this kind of music in the 80s, but Throbbing Gristle were doing this as far back as 1976, so they were indeed groundbreakers. It's musically interesting though not overly compelling for repeated listens. Going to earn you a sideways glance if playing for coworkers. From an antique mall in Hutchinson, Kansas (Oct 2023) (May)

Deuter - Cicada (1979). Kuckuck (CD). Sedona, Arizona. 1984. You walk into the Sedona Spiritual Bookstore (then known as Al's Dusty Used Books). Deuter's Cicada is playing gently in the background. You pull down a dogeared copy of The Beautiful Side of Evil and find your favorite chair with the coffee stain you left on it years ago. While holding your crystals in one hand, you begin to flip through the book. Minutes later, you are vast asleep. From a local thrift shop (May).

*Earthstar - Sleeper the Nightlifer. 2023 Made in Germany (1980) (CD). A somewhat disappointing close to a somewhat disappointing CD reissue set. All five albums were taken from either vinyl or a hissy cassette. French Skyline wasn't mastered properly. I was most looking forward to this unreleased archival album. But it has familiar music that found its way to other albums. Not bad on the whole of course, but nothing revelatory. The opposite of their released albums. (May)

Reuter / Boddy – Pure. 2004 DiN (CD). Collection revisit (Jan). Ian Boddy plays modern synths with sampled mellotron. Markus Reuter is a German “touch” guitarist. Each track is different from the other and all are unique in their own way. Elements of Ash Ra, spacey Schulze, electronica, and Berlin School can be found. But mostly it sounds like nothing I’ve heard. DiN’s mission statement is to provide electronic music between old analog and modern digital. They succeed here. 

Bernard Szajner – Some Deaths Take Forever. 1999 Spalax (1980) (CD). Collection revisit (Jan). Zeuhlish electronic piece. The album is often described as Magma meets Heldon, which is fair, with members from both. However it's more experimental, cold, and predicts the 80s style of electronic. To be discovered, as Musea used to say in their old catalogs. 

* - Keeping for the collection; x - not in RYM

Amon Düül – Paradieswärts Düül. 1971 Germany

For most of my record collecting life, I've felt like something of an apologist for this album. Amon Duul is the original commune group that was later to spawn the much more interesting Amon Duul II. Most of their entire music output comes from a late 60s drum jam that went on for days it seems. A whopping four albums were culled from these sessions, and all have proven to be difficult listens. They weren't intended for home listening in the first place, and their purpose was that of both artistic freedom and leftist politics. Similar activities were happening in New York City's Greenwich Village and Soho loft scenes during this time.

The exception of course is Paradieswaerts Duul. This is a separate recording, much more pleasant, and in line with some of the folkier outfits of the day such as Emtidi, Broselmaschine, and Hoelderlin. Featuring guests from Amon Duul II and Xhol Caravan, the music sort of meanders along, never in a hurry, but oddly satisfying. Not sure an album like this, taken out of its historical context, would be worthy of so much attention. But it is just this time and place aspect that makes it endearing, and an important part of a complete Krautrock collection.

The CD adds their rare single, and I have that review over at The 45 Revolution.

Ownership: LP: 1971 Ohr. Single sleeve. Found at VVV Records in Dallas (1987).

CD: 1996 Spalax. Triple fold out digi-pak that includes the above SP. I keep it for that reason alone.

1987 (first listen); 1996; 10/22/24 (review / new entry)

2024 Fusion / Jazz Journal Vol. 4 - Complete

Astrud Gilberto - Windy. 1968 Verve (LP). I couldn't pull this out of the thrift shop bin fast enough just hoping the vinyl wasn't trashed. And it wasn't! (Oct). As noted prior, I'm buying anything with the Gilberto name on it, especially Astrud. And she's covering The Association's 'Windy'? That's not even fair. That's like adding Nolan Ryan to the 1927 Yankees roster. And yet... I didn't get much out of this album. Way too saccharine and over produced. Gilberto's chilling and innocent voice does best in a mixed emotion state. Here it's all rainbows and unicorns - and lots of strings to sink the mystique. Ah well, I didn't figure she'd bat a thousand (it's baseball metaphor season apparently).

*Coryell / Mouzon - Back Together Again. 1977 Atlantic (LP). Purple Peak Jeff was recently raving about this album. And I told him this is exactly the kind of LP I look for in the wilds. And sure enough, a nice copy popped up for five bucks (going online rate BTW) at the inaugural Denver Stanley show (Oct). And yes, as Jeff stated, this is a super example of guitar heavy fusion. Coryell never does get the credit he deserves, and just to add to the humiliation, he brings along Belgian guitarist Philip Catherine - another great guitarist who is long forgotten for no reason. The busy and complex rhythm section is made up of Alphonse Mouzon and John Lee on bass. The compositions are strong here, not just showboat material. A bit of period funky business only adds points for me. Excellent as far as I'm concerned.

Bjorn J:son Lindh - Cous Cous. 1972 Metronome Sweden (LP). Collection revisit (Oct). Mostly an easy listening jazz flute session, with two tracks referencing the Middle Eastern album title. Some tasty fusion moments with Jan Schaffer providing the electric guitar. Nice album though nothing here to elevate to the next level.

*Maynard Ferguson - Primal Scream. 1976 Columbia (LP) (1976). Flea market find from a local friend (Oct). Not long after I acquired Conquistador in high school, I ventured deeper into Ferguson's catalog and purchased Primal Scream. In reflection I may have bought his two best albums, using nothing more than my instincts at the time. As with Conquistador, I didn't give my music palate a chance to expand, and ultimately parted with it by the time I reached college. In my first revisit since (41 years?), I hear this album as nothing short of great. Plenty of deep grooves to back up Ferguson's impressive lineup of jazz A-listers. I really appreciate the jazz funk cop show-ish 'Invitation', a track I was recently reminded of from Jaco Pastorius (of all artists). Nostalgia + great music = a long residence at Casa UMR. I'd put Ferguson in the same category as Sergio Mendes and Deodato: Regular thrift shop records that belong in your collection.

*Mahavishnu Orchestra - Visions of the Emerald Beyond. 1991 Columbia Legacy (CD) (1975). Collection revisit (Sep). 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.

Kraan - Let It Out. 1975 Spiegelei (LP). Collection revisit (Sep). A much more generic funky jazz fusion than I had recalled from my initial listen. Certainly not unpleasant but not distinctive either. 'Die Machine' is an out of place motorik styled Krautrock piece and yet it's the best track here. Well produced and played, but I think I can let this one go. Pity as it's a perfect mint German original.

*Sergio Mendes & Brasil '66 - Ye-Me-Le. 1969 A&M Germany (LP). 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 (Sep). The music is as expected, soft Bossa Nova covers of famous songs, plus a smattering of originals. Beautiful really.

Herbie Hancock - Crossings. 2001 Warner Bros. (CD) (1972). Collection revisit (Aug). There are certain albums in my collection that I really want to like and Crossings is one of them. From the idea, sound, album cover, and spirituality - Crossings offers everything I enjoy about this kind of jazz. Except I don't connect with it. When an album is based on this kind of emotion and lacking in the composition department, that connection then becomes germane to the entire appreciation of the performance. Why we relate to some albums and not others is a discussion and discovery for deeper study. But reputation alone does not have me keeping this.

Oliver Lake - NTU: Point From Which Creation Begins. 2019 Freedom/Muzak (CD) (1976). Online acquisition (Aug). Well.... I tried. It was advertised as "spiritual jazz", which oftentimes is a softer way of saying "free jazz". I was hoping for something more than grating noise and mindless improvisations. And there were some friendly moments here, especially A2. I know what spiritual jazz means to me, and this ain't it. I wasn't elevated in the slightest. Rather I was annoyed. Not for me. Being the eternal optimist that I am, this will go down as a "good investment". Similar to Motley Crue in that way...

Maynard Ferguson - New Vintage. 1977 Columbia (LP). From the Showrunner's garage sale (Aug). I've been in the mood for big band jazz funk of late, and Maynard Ferguson was one of the leading lights in this area. I'm familiar with most of his output from this era, including the excellent Conquistador and Primal Scream (see above), but this is one title I missed. And I can see why now. Fairly generic with the usual mix of covers, disco, and stage band. Misses the vibrancy of his best work.

Noa - Journey to Babel. 2020 Arcangelo (CD). Collection revisit (Aug). Noa are one of those obscure Japanese bands that have been around for 35+ years but few know who they are. In this case, the group released the gone-before-anyone-knew-it-existed Tri-Logic back in 1987, only to return in 2018 and release three albums... that no one seems to be aware of. The music sits in the middle of jazz and prog rock, a bit like Kenso, weighing more towards the fusion side. The lack of "analog color" instruments creates a more one-dimensional perspective. The synthesizers sound dated even by 80s standards, and misses the warmth of earlier creations. No flute, sax or anything else to soften the guitar and keyboard brashness. The guitarist is very talented and does a fine job of keeping his solos in the melodic realm. A fine album, but I've heard it done by too many others for me to take much notice at this point.

* - Keeping for the collection

Kyrie Eleison - The Fountain Beyond the Sunrise. 1976 Austria

As you probably have noticed, I write about a lot of albums - especially in these last few years - that have little to do with progressive rock. There is no mistaking where Kyrie Eleison comes from in the continuum of genres. I bought this at a time when I was starving for anything that might resemble the classic 70s progressive rock sound, especially obscure albums that were actually released back then. The cover alone is just perfect, so the contents within must be magnificent. To this day, Kyrie Eleison has been a permanent fixture on my "wall of albums". Foxtrot era Genesis is obviously the name of the game here, so let's dig in.

After 35 years of owning this LP, I can safely say it hasn't improved any more to my ears than on the first listen. The analog instrumentation and lengthy compositions are all welcome of course. Their heart is absolutely in the right place. The execution is what is lacking. The production is distorted. The English vocals are iffy at best, a common issue with continental European prog bands of the 70s. They are intended to replicate Peter Gabriel's theatrical mannerisms, but come across oftentimes as irritating. The songs themselves lack those magical highs that make prog such a brilliant genre. There's no soaring guitar solos like on 'Firth of Fifth', or the fuzz bass proclamations of a 'Close to the Edge'. The Fountain Beyond the Sunrise grinds through their compositions without the clarity needed to create a next level experience.

If thinking what I'm saying above means I don't like The Fountain Beyond the Sunrise, that would be the incorrect conclusion. It just never really met my rather lofty expectations. Whether while I was still in my early 20's or now (gasp) 60. Back on the wall it goes, perhaps another visit in a dozen years will finally reveal what I've been looking for.

Ownership: LP: 1984 Merlin. Single sleeve with two inserts. Mail order acquisition from Eurock (1989). It's easy to tell the difference between this reissue and the original - the cover is more distinctly yellow in color, the back cover is white, and the inserts are photocopied, rather badly at that. One of those inserts is an advert for Indigo, their current band at the time. I've seen many folks try to pawn this version off as an original, so just be sure to look for these details. Originals are much tougher to source. Discogs has an entry for a Swedish release, but looks incorrect. I don't have the energy to correct the record, so to speak.

Archie at Eurock brought in many of these obscure European prog albums in the late 80s (his forte was more towards electronic and what we now call avant prog). In phone conversations with him back then, I don't think he really liked symphonic prog too much. Some of what he brought in are going for the same price now as then. Others have skyrocketed. I only bought a few, because that's all I could afford, and still own some.

His catalogs tended to be hype machines, every album was incredibly great. He offered that kind of praise for the Indigo album and I bit. What a huge disappointment! I need to conduct a recent objective listen, as I'm sure my ears will provide more of an historical context. But at the time, it was exactly the kind of hollow "neo prog" (=80s arena rock) I was trying to avoid.

1//89 (first listen); 5/29/09; 10/19/24 (review / new entry)

Richie Duvall and Dog Truck. 1973 USA-New York

---2/3/20

 

Here's a new discovery for me and one that did not manage to waft under my nose during the CDRWL heyday. Last year's completely new finds of Terry Masters and Christian Friday constantly remind me that we'll probably always be discovering something from the past. And that doesn't count newly unearthed archival recordings, that I'm sure will continue on for another few decades. Richie Duvall and Dog Truck are a known entity, just not one I'd run into before. For those curious, the artist themselves have released the album on YouTube, and it's how I heard it. I think they should just go all the way with a CD reissue here (and full historical essay).

From an innovative and background perspective, Long Island's Richie Duvall and team ties closest to Minneapolis' own precocious Tom Nehls and his running set. Once again we're dealing with the smartest kids in high school who decided to release an album of great invention. Whereas Nehl's tapped into a strange kind of late era psychedelia, Duvall tried his hand at jazz fusion. Not in any typical sense mind you. In fact, what one hears is a strain of Canterbury. In 1973 America? Now that's inspired. The only band I can think of that tapped into this vein back then were The Muffins, and they didn't arrive until a few years later (thinking their 1976 archival Chronometers here). As with Nehls, it comes as no surprise that Duvall and group were inspired by Frank Zappa and Captain Beefheart. The type of jazz rock played here is incredibly in control and highly melodic. Perhaps it would have been better served with some more of that teenage angst, but they are to be admired for their discipline and maturity. Dog Truck is a large ensemble with many instruments on display, including multiple horns. The front cover of the album itself says of the music: "Half poly-precipitated jazz and half post-meditation rock". 

Like I said, these were the smart kids in the class. 

---10/18/24

I've now obtained the LP after almost five years on the want list. What great insights do I have to offer beyond what I said above? Nothing really. Such an anomaly - where on Earth did they get the inspiration? I suppose the English bands as noted above, but they were unique to do that here in America. Someone needs to do a dissertation here. 

Ownership: LP: 1973 United Sounds. Single sleeve. Online acquisition (2024). It appears my copy once belonged to trombonist Skip West, based on a note inside the LP.

No reissues exist as I update this entry.

2/3/20 (first listen / review / new entry); 10/18/24 (update)

Phil Moore III and the Afro Latin Soultet - Afro Brazil Oba! 1967 USA-California

Somewhere at the crossroads of Burt Bacharach and Sergio Mendes you will find the sound of Phil Moore III and the Afro Latin Soultet. From the former you get the beautiful songwriting, deceptively simple yet complex all the same. The album tells us they're introducing Leni Groves (who was 19 if going by the liner notes). They might as well be saying "introducing Dionne Warwick". Once you hear her voice you'll know what I mean. From the latter you get the unmistakable soothing sounds of Bossa Nova. But instead of piano, Moore brings in this creaky organ that he probably picked up at a church salvage sale. The mix is irresistible. 

Ownership: LP: 1967 Tower. Single sleeve. Found at the Colorado Springs Flea Market for a buck (2024).

Typically I would place albums like this in the journal section. But there are no reissues as I create this entry. It's worth calling out for that. Albums like this typically find their way onto CD in Japan, where music like this is highly revered. It appears the album remains largely undiscovered.

10/12/24 (first listen / review / new entry)

Kaamos - Deeds and Talks. 1977 Finland

Deeds and Talks is an album that's been in my scope for many years, but it's not anything that ever resonated with me. Despite glowing reviews, on first impact the album fell flat to my ears. Now some 30 years have passed, and I've reacquired the LP. Let's try it one more time.

OK, yea, this is the kind of sound I embrace more now than then. It's a song based album with plenty of progressive rock interludes. My reaction back then would have been too much song and not enough prog. Though I could always go for more of the latter, I'm appreciating the former more. I had similar reactions to fellow countrymen Tasavallan Presidentti and Wigwam when I first heard them. Today I like them all. One can hear Jethro Tull, Procol Harum, Stevie Wonder, and The Beatles mixed in with the usual suspects of Genesis and ELP. English is the language of choice though one can hear parallels to the Swedish Kaipa as well. Fine 1977 styled analog instrumentation makes the music easy on the ears. Not everything here is aces, but overall the album passes the "line to gain" by a yard or so. 

Ownership: LP: 1977 M&T. Gatefold. Recent online acquisition (2024).

1994 (first listen); 2010; 10/8/24 (review / new entry)

Surprise - Assault on Merryland. 1977 USA-Missouri

---2/21/07

In the game that was the US Midwest underground progressive rock scene of the 1970s, Starcastle emerged as the winner (commercially speaking and not counting Styx, Kansas, etc... Keyword: Underground). There were plenty of other worthy competitors for the title (Ethos, Albatross, Pentwater, This Oneness, etc...)**. Surprise, from St. Louis, were one of the better ones to have participated. The genre itself can be defined as a mix of complex rock with a clear understanding of radio friendly chart music, as FM radio ruled the thoughts of the day. There's a common DNA amongst all these groups, and can be instantly recognized if your ears are tuned to it. Four piece group where everyone plays a multitude of instruments to add plenty of variety.

---

** Almost five years from writing this review, I put together this listing for RYM. I credit this album for helping me form the idea.

---10/8/24

So here we are on my first revisit since that review. Not surprised, so to speak, to know I'm enjoying it more now than ever. Some of these bands in the Midwest really went "for the gusto" as the beer ad would suggest. There's much complexity buried in the mix, and yet you can tell they were trying to bring in some commercially acceptable music while at it. It was hopeless. The instrumentation is 1977 analog heaven.

In reading recent chatboard activity, this album has a poor rep. That's too bad. Sometimes I do feel there's some self-loathing over the prospect of enjoying albums like this. Of course it's not cool, and never will be. I have no such qualms. There was a small period of time when something like this could get recorded and released. Same with the where/place. 1977 St. Louis is the intersection of that phenomena.

Ownership: LP: 1977 Carousel. Single sleeve with booklet. Online acquisition (2020). Sports the kind of cover you would never miss if crate digging. If only such a occurrence would happen.

Former ownership: CD: 1995 Zarathustra. Jewel case. This was the source of the original review. One of those labor-of-love reissues. Today it's expensive in its own right. Since the CD didn't offer much more than the LP, I took the cash after acquiring the above.

2/20/07 (first listen / review); 10/8/24 (update / new entry)

M.I.A. - Magicos Juegos del Tiempo. 1977 Argentina

M.I.A.'s second album is quite a departure from the albums it's sandwiched between. The debut is a progressive classical romp in the ELP tradition. And Cornonstipicum is one of the all-time great progressive rock albums, perhaps the best ever from Argentina. But Magicos Juegos del Tiempo is much different - a progressive folk album for the most part with a few diversions into the world of prog and even a bit of loose psych jamming. There's nothing to call out as extraordinary but it's a pleasant listen throughout. But they left no indication where they were to go next.

Ownership: LP: 1977 Ciclo 3. Single sleeve with booklet attached to the front. As you see in the Discogs photo attached. if done properly, there are two pieces of specially designed tape to slip the booklet in and out. Fortunately my copy was assembled correctly. Acquired via mail order from Argentina direct (1993).

Former ownership: CD: 2011 Belle Antique. A perfect reproduction of the album including instructions in Japanese on how to assemble it. Debated keeping it, but it's superfluous to own at this point, especially since my vinyl copy is in very nice shape.

6//93 (first listen); 2/12/12; 10/7/24 (review / new entry)

2024 Prog Journal Vol. 2 - Complete

 *Aunt Mary - Janus. 1990 Vertigo (CD) (1973). Collection revisit (Oct). Janus represents a smorgasbord of popular early 70s music, especially of the progressive rock persuasion. 'For All Eternity' sounds like Yes; 'Candles of Heaven;' is their ELP contribution; 'Stumblin' Stone' has a War slant; 'Mr. Kaye' is their Beatles rendition; 'Nocturnal Voice' could have been on the Junipher Greene album; and finally 'What a Lovely Day' sounds like any number of early 70s obscure UK prog bands. It was the right sound at the right time.

Pulsar - Bienvenue au Conseil D'Administration! 2001 Musea (CD) (1981). Collection revisit (Sep). A mixture of Heldon like electronics, Ange styled theatrics, Pulsar's trademark space rock sound, and plenty of narration in French. It's a very good album but I never really warmed up to it.

Aufklarung - De La Tempesta… L'Oscuro Piacere. 1995 Pickup (CD). Collection revisit (Sep). Yet another obscure 90s prog CD languishing in the collection that hasn't been touched in over 20 years. Much praise was heaped onto Aufklarung's debut on release, as it offered more than the usual Marillion styled neo prog / arena rock coming from Italy. Their sole album possesses quality songwriting and challenging segments, but does suffer from a typical 90s production. Singing in English takes away from the "Italian" edge, and some of the music falls flat. As you'll see repeatedly below, it was "good for its time" but hasn't aged as well as some of the albums I've recently featured in UMR from this same era.

Kraken in the Maelstrom - Embryogenesis. 1993 Mellow (CD). Collection revisit (Sep). One of the oddest releases in my collection. Not strange in an overt manner, more in the way it all comes together. Embryogenesis is a good example of a band with great ideas, but their musicianship hadn't caught up yet with their imagination. The guitarist has an excellent sound, one that would feel comfortable in a post-Hendrix funk band circa 1971. The keyboards sound like something you could buy from a discount retailer inside of an old suburban mall in 1985. The music is all over the place without rhyme or reason. Melodies are non-existent, vocals are in iffy out-of-tune English, and they throw in some atonal sax just to ensure you're irritated. The master tape cuts off unexpectedly in places. Honestly, what were they doing? I dunno - I bought this album not long after release and kept it for the quirkiness, which I usually reward. But maybe this one is a bridge too far. I don't think they're incompetent, perhaps it came out of the oven too soon? Going to have move on from this title.

Bi Kyo Ran - Who Ma Live Vol. 2. 1993 Belle Antique (CD) (1982-1983). Collection revisit (Sep). 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. I have three other Bi Kyo Ran albums, and at least one, if not all, will stay here for many years. I also once had the LP of this title.

Il Castello di Atlante - Sono io il Signore delle Terre a Nord. 1993 Vinyl Magic (CD). Collection revisit (Sep). Solid debut from Italian prog group arriving at a time when we were still starving for new acts in a much missed style. There were a few, many singing in English and trying their hand at Marillion styled neo prog. Il Castello di Atlante were from the old school. However their sound was very much of the early 90s. Many new exciting bands would arrive from Italy only a year later, pushing this album to the margins. I kept it all these years as there's some fine tracks and the violin is splendid at times. But today it finds itself at the bottom of the rankings and this listen didn't push it back up. Time to let go. 

Los Jaivas - Alturas de Machu Pichu. 1989 CBS (USA) (CD) (1981). Collection revisit (Sep). Another one of those albums lingering in my collection for 30 years based on reputation rather than my actual enjoyment of it. I love the freak folk debut and the wild prog / Krautrock-genre of their 3rd effort. But this one plays it too safe. It does have plenty of prog rock moments - mixed in with traditional Andean music. Too watered down for me to consider this their best album, and to take it further, not really collection worthy for me anymore.

Yes - Union. 1991 Arista (CD). Estate sale find for a buck (Aug). Like every dedicated prog fan, I heard Union not long after release. Like every dedicated prog fan, I hated it lol. Scoffed and mocked it in fact. Because that's what you were supposed to do. Shows you that Yes were more religion than music by that point. I long zeroed out my grade on it, having no recollection whatsoever of its contents, other than it supposedly sucked. But is it so bad really? No, of course not. It's the 80s Yes, Asia, ABWH contemporary sound. Union is a long album that involves clock watching, and nothing too catchy to maintain much interest. It has the Yes trademarks but with a coat of super gloss and none of the magic. Not sure how that would be possible given this is largely a studio amalgamation. One wonders why a band can't recreate the sound of their youth, but Yes wasn't the exception, more the rule.

Jethro Tull - The Broadsword and the Beast. 1982 Chrysalis (LP). From a friend's garage sale (Aug). Catching up on Tull albums I missed in my youth apparently. Despite sporting a proggy / metal styled cover, it's neither. Many fans point to this as a return to the sound of early 70s Tull. Not really. It's like that Kayak - Merlin album I wrote about many years ago. It's "good for 1982" in a mainstream kind of way. Nothing underground about it. Slick 80s production hides whatever creativity Anderson and team may have brought forth. You can hear a little flute and some tepid guitar - and lots of modern synthesizers. It was the sound of New Wave contrasted with AOR styled compositions. I would still submit it's a good album, but nothing to raise much interest.

Strawbs - Grave New World. 1976 A&M (1972) (LP). From a large garage sale buy in Monument (Jul). Deceptively beautiful gatefold package with booklet. More folk than prog at this stage, though the mellotron is much welcomed. Almost kept it but they lost me on side 2.

Gong - Flying Teapot. 2019 Charly (1973) (CD). Part of a full collection buy (mostly LPs and already covered in published Journals) at a garage sale (Jul). This album is as goofy and stupid as I remember. They achieved their goal of sounding like a bunch of potheads. It's not a total loss, and there are moments of lucidity interspersed on the title track and 'Zero the Hero'. Tim Blake's short electronic contribution predicts his Crystal Machine album. But the rest you can have. I remain unconvinced this is a masterpiece. I'll take You from this era.

Jethro Tull - Too Old to Rock 'N' Roll; Too Young to Die! 1976 Chrysalis (LP). Thrift shop find (Jun). Starts off pretty decent but gets increasingly boring as it goes. Song oriented without the songs I'd submit. Definitely a weak link in Tull's 70s output. I was surprised to learn that even nice gatefold originals (like this copy) are only going for $5. It's the first one I've found in the wilds in five years. But demand is light and I can understand why.

*Camel - A Live Record. 1978 Decca (2xLP). From an antique mall (Jun). $6 find, definitely a steal. 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.

Jeff Wayne - War of the Worlds. 1978 Columbia (2xLP). Thrift shop find (Jun). Rare to find in this great condition and with the book. One has to wonder just how much juice Wayne was able to squeeze from to be able to put out such a big budget affair. Judging by the number of pressings, this album can only be considered a wild success. I'm not a rock opera guy, so it mostly flew by without notice for me. In today's world, the kids call this "good cheese". I don't think it's cheesy rather it's a sincere work of art. Just not my thing.

Dunaj - Rosol. 2001 Indies (1991) (CD). Collection revisit (May) More art rock from Czechia (as they now call it). Their next album Dudlay has a special place in my heart for a variety of historical reasons. I grabbed this one much later, and it doesn't resonate as much as, say, the other MCH Band albums. There's a similarity to all the songs here. I think I'd enjoy better if a couple of these tracks showed up on a compilation. 

Finisterre - In Limine. 1996 Mellow (CD). Collection revisit (May). To be honest I thought I had this one rated too low. I'm a fan of their debut, and especially of Zuffanti's retro prog group La Maschera di Cera. As it turns out I had it rated properly. Like the debut, it's a bit all over the place. But this one comes across as more sterile. I also felt that way when I first obtained the album upon release. Tastes change, and I thought this would be one that would have joined me on my journey. If anything, we're further apart. It is a very good album, but I fear that In Limine falls into the dreaded "too much of the same thing". 

Echolyn - Suffocating the Bloom. 1992 private (CD). Collection revisit (May). Echolyn are/were one of those bands that I was dictated to that I must like, but I just never could get into them much. Some 30 years has passed, so I think its time for an objective listen at my advanced age. Mannn... I still don't get them! At least on this album. But I do see the allure. One cannot accuse Echolyn of not giving it their all. They are talented - this is obvious - and their brand of the Midwest variation of Gentle Giant should push every button I possess. But it doesn't. Why? Not really sure. It's overly vocal oriented which can be a turnoff for me. They don't let the instruments breathe. Their melodic style doesn't resonate either. I can honestly state that I like the album, but it isn't next level for me. I fear to say I have to move on from this CD. Maybe other albums will trigger the right emotion, but Suffocating the Bloom never did. 

Submarine Silence. 2001 Mellow (CD). Collection revisit (Apr). Created by members of the Italian neo prog band Moongarden, Submarine Silence jumped on the retro prog bandwagon and went for a more 70s aesthetic. The overall music approach is very similar to mid 70s Genesis (including Paul Whitehead artwork from the Foxtrot era). It's all instrumental and I was quite impressed when it first came out. Perhaps too many other albums have come along since that are much better at replicating the sounds of the past. In reflection, Submarine Silence misses on the analog warmness, and it does possess a more modern touch, even if that wasn't their intent. One more "too much of the same thing" when expanding the lens. 

* - Keeping for the collection