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)

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

2024 Fusion / Jazz Journal Vol. 4 - Complete

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.

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.

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 ~ Austria

The Fountain Beyond the Sunrise (1976)

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: 1984 Merlin (LP). 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)

Phil Moore III and the Afro Latin Soultet ~ USA ~ California

Afro Brazil Oba! (1967)

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: 1967 Tower (LP)

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 (review / new entry)

The Eleventh House / Larry Coryell ~ USA

Coryell / Mouzon - Back Together Again (1977)

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. 

Ownership: 1977 Atlantic (LP)

10/10/24 (LP acquired / review)

Planet End (1975)

The album represents two different sessions, but unreleased at the time: 1970's Spaces and 1974's The Eleventh House. Also included is one Coryell solo guitar piece which serves as an interlude. I prefer the heavy fusion of the Eleventh House, and both of these tracks would have fit great on the debut. No surprises if you're familiar with that album. Even though they represent half the tracks, it's only about 30% of the time (10 minutes). I'm less familiar with Spaces, a much more "out" setting reminding me some of Wolfgang Dauner's work from this period. Fairly raw and a mite untogether that is, of course, the point. Not an easy listen, but not uncomfortable either. This version of the band represents about 60% of the material here (about 20 minutes). In essence, Planet End is more geared towards the Spaces audience with some extra mid 70s fusion punch.

Ownership: 1975 Vanguard (LP)

12/19/22 (review)
 

Level One (1975)

I personally feel that Level One is a half step up from the debut. All the edgy instrumental work has stayed in, but with stronger songwriting this go round. Coryell's fiery guitar work remains intact, and there's quite a few melodies to latch onto. A very good fusion album. As for the cover, I think we can lay claim that Coryell is the original Leisure Suit Larry.

Ownership: 1975 Arista (LP)

7/3/12 (acquired); 2/14/13 (review); 9/21/20

At the Village Gate (1971)

At the Village Gate is a very interesting album from jazz guitarist Coryell. I've heard quite a few of his albums prior including the Eleventh House works, and they follow similar fusion / jazz rock paths as laid out by John McLaughlin / Mahavishnu Orchestra, Wolfgang Dauner's Et Cetera, Return to Forever, and Weather Report. In effect, musicians born out of jazz but with a strong interest in rock music. So even though I had read this album to be different, I wasn't expecting it to really be that way. And I was to be proven wrong.

At the Village Gate truly is an instrumental psychedelic rock album. This is very much in the realm of Jimi Hendrix and Cream. Perhaps not as intense as the burgeoning Krautrock movement of early Ash Ra Tempel and Guru Guru, but take away some of their more excessive moments, and you arrive At the Village Gate. The guitar tone is decidedly psychedelic with plenty of effects applied, while the rhythm section is constantly on the move. "Busy" as the liner notes suggest. For the style, it's a bit subdued, but for an experienced jazzer like Coryell, it's definitely risky and on the edge. For my tastes at least, it's the best album I've heard by him.

At the Village Gate is a relatively obscure album for a marquee name such as Larry Coryell, who sadly passed away recently. Real Gone has provided the first legitimate reissue on CD in 2017. Don't miss it this go round if what I say above resonates.

Ownership: 2017 Real Gone (CD). Liner notes.

3/7/18 (review)

Introducing The Eleventh House With Larry Coryell (1974)

No doubt that guitarist Larry Coryell, seeing the success of peers such as John McLaughlin, Chick Corea, and Joe Zawinul, stated something along the lines of "Hey, I can do that!". And so he compiled his own all-star lineup including legendary players such as Randy Brecker (trumpet) and Alphonse Mouzon (drums). And off to the studio they went, to demonstrate the immense amount of chops they possess. The songwriting on the debut is a bit of an afterthought - rather its sole purpose seems to be a springboard for complex instrumental sections and showboating solos. Still it's always great to hear musicians, as talented as these guys obviously are, to plug in and rock their brains out. All the mid 70s musical trappings are baked in here - so you'll get your fill of rock, jazz, funk, and tropical. You can't miss on this one if fusion is your bag.

Ownership: 1974 Vanguard (LP)

2005 (acquired); 2/13/13 (review); 6/7/22 (update)

Other albums I own and need to review: Barefoot Boy; Offering; Aspects

2/13/13 (new entry)

Kaamos ~ Finland

Deeds and Talks (1977)

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: 1977 M&T (LP)

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

Surprise ~ USA ~ St. Louis, Missouri

Assault on Merryland (1977)

---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: 1977 Carousel (LP). Sports the kind of cover you would never miss if crate digging. If only such a occurrence would happen.

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

M.I.A. (Músicos Independientes Asociados) ~ Argentina

Magicos Juegos del Tiempo (1977)

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: 1977 Ciclo 3 (LP). 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. 

6//93 (first acquired); 2/12/12; 10/7/24 (review)

Transparencias (1976)

Classically trained pianist Lito Vitale leads the Músicos Independientes Asociados bunch through one of Argentina's first true symphonic rock albums, when everyone else in the country were still mired in the blues. He mixes complex progressive rock with classical interpretations to create his own brain salad surgery. So yes, of course, Keith Emerson rises to the front of the influence line, as he had for many a budding keyboardist in the rock world. Side 2 brings forth a bit more jamming and hard rock to the mix, and probably could have been tightened a bit. So the album certainly has its flaws - it's painful to sit through Pomp and Circumstance at graduations much less for my own enjoyment. But let's give the kid a break, eh? I mean, he was 15 years old when he showed up on the world stage. What were you doing when you were 15? I most certainly wasn't putting out fully realized progressive rock albums with sick piano chops, that's for sure. It usually took me a few minutes just to take the shrink wrap off the LP. Still does actually...

Anyway, MIA were to improve from here, and then lay down one of the all time greats in Cornonstipicum two short years later. When he was an old man at 17.

Ownership: 1994 Belle Antique (CD)

1992 (first acquired); 1995; 4/17/10; 12/24/16 (review)

I still need to review my copy of Cornonstipicum.

12/24/16 (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.

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.

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.

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