Tuesday, December 31, 2024

2024 Revisits of prior UMR entries

I created this post primarily as a dumping ground for albums I revisited this year. The purpose is to highlight former reviews that are long forgotten. Worth reading again if you have the time. :-)

I'll try to break these up into smaller batches starting next year.

Iliad - Distances

Mythos - Quasar

Flowers Must Die (3)

Eloy - Silent Cries and Mighty Echoes

Michel Moulinie - Chrysalide

Il Cerchio d'Oro - Dedalo e Icaro

Poliphony (1973)

Snowball - Defroster

The Enid - In the Region of the Summer Stars (1984)

The Morrigan - Hidden Agenda

Troc

Tusmørke - Riset Bak Speilet

Heru Avenger - New Aeon

Ballo delle Castagne - Kalachakra

Barcelona Traction

Caillou

Electric Orange - Netto

Espiritu - Libre y Natural

Sithonia - Confine

Baxter

Socrates Drank the Conium - On the Wings

Gabor Szabo - Bacchanal

Sepi Kuu - Rannan Usvassa

Pierrot Lunaire

La Statale 17 / Emphasis - Sudtirol Rock Scene

Totem - III: Corrupcion

The Perotic Theatre - Dryve

Embryo - Father Son and Holy Ghosts

Dark - Tamna Voda

Discipline - Unfolded Like Staircase

Hidria Spacefolk - Symbiosis

Earthstar - Humans Only

Vespero - By the Waters of Tomorrow

Grovjobb - Under Solen Lyser Solen

Mylla - Vanya

Feliu i Joan Albert

Charlie Mariano with the Chris Hinze Organization

Setna - Cycle I

Sieges Even - A Sense of Change

Superfjord - All Will Be Golden

Syd Arthur - Apricity

The Morrigan - Wreckers

Earthstar - Atomkraft? Nein, Danke!

Ragnarok (NZ)

Satin Whale - Lost Mankind

Earthstar - Salterbarty Tales

Circus 2000 - An Escape From a Box

Circus 2000

Eskaton - 4 Visions

Flor de Loto - Imperio de Cristal

ARC - Fracture

Ragnarok (Swe)

French TV - 11: Ambassadors of Good Health and Clean Living

Dream Theater - A Dramatic Turn of Events

Circus (UK)

La Coscienza di Zeno - La Notte Anche Di Giorno

Galaxy-Lin - Galaxy Lin + G

Eden - Erwartung

Spontaneous Combustion - Triad

Major Surgery - The First Cut

El Templo del Dinero

Hills - Master Sleeps

Galliard - Strange Pleasure

Garden Wall - Assurdo

Buffalo - Only Want You For Your Body

The Tony Williams Lifetime - Ego

Corima - Quetzalcoatl

Lasting Weep - 1969-1971

Catalyst

IQ - Tales from the Lush Attic

Kundalini Shakti Devi

2024 Prog Journal Vol. 4 - Complete

Egg - The Civil Surface. 2004 Virgin (CD) (1974). Collection revisit (Dec). About 20 years ago I wrote: "Recorded four years after The Polite Force, but not really sounding all that different or "modern". The wind quartet being the unusual twist here. When Egg are on, they create some of the most engaging music ever. Like most Egg albums, tends to lose momentum at the end. Seems like Supersister proved you could do the fuzz organ, fuzz bass, drums bit for a whole album and not be boring." This last Egg album has never been an A-lister for me. I sold off my original LP in the middle 90s, and it wasn't until another ten years later that it reentered the collection via this Japanese CD. A1, A3, and B2 are your highlights, but they never go to the next level, more or less regurgitating snippets of the past. And the wind quartet is dull honestly. As genius as Dave Stewart most certainly was, this album seems more like a contract obligation work. Stewart was to regain his mojo soon after with Hatfield and The North.

Frank Zappa / The Mothers - The Grand Wazoo. 1995 Rykodisc (CD) (1972). Collection revisit (Dec). Zappa is the ultimate example of an artist who refused to be pigeonholed. As such, most folks have their favorites by him, or at least those albums they consider worthy of repeated listens. I know there exists fanatics out there who say Zappa could do no wrong, quite possibly because he was so eclectic. For me, Hot Rats is his grand achievement, and then I have a few I really enjoy, and the rest I can live without. The Grand Wazoo is the only one currently in my collection that I wasn't so sure about. And, of course, the album is about as consistent as his career. The lengthy title track is an odd kind of big band orchestra hybrid. Thinking Third Stream here, but more towards the rock side than jazz. This is followed (at least on CD) by a couple of Zappa's typical insouciant numbers, with much silliness interjected into the serious compositions. Honestly I think he just woke up every morning to be a contrarian and to shock people. And he was clear headed about that too (read his book). 'Eat That Question' is my kind of Zappa, and my kind of early 70s jazz rock. He wasn't a pioneer in this field, but it was unusual for a "pop" artist to take on this field of music at the time. Carlos Santana did similar, but with a different focus. Closer 'Blessed Relief" pulls out the gentle melodies of the Hot Rats era but with an almost smooth jazz approach. I think if The Grand Wazoo was an early high school or college discovery for me, I'd be pretty zombie-eyed about the contents. But I was in my late 30s by the time I got around to first hearing it, and already well established mentally, personally, and spiritually. So it's just another album to me. And not a very consistent one. I can let it go. No memories here.

*TEE - Total Edge Effect. 2022 Pretentious Dinosaur. For their prior album Tales of Eternal Entities. I said: "TEE return with their distinctly mid to late 70s warm European progressive rock sound. Flute, guitar, and analog sounding synth lines dominate the melodies, while the rhythm section mixes things up often to keep the music from becoming static. As in the past, you'll hear traces of Asia Minor, Solaris, Gotic, and perhaps more pointedly than ever, the godfather of such a sound: Camel." No changes here. If there's a sound that I instantly enjoy it's the kind TEE peddle. I probably need to stop buying more product, as I have more than enough, but these kind of albums never disappoint. Intriguing Japanese mini-LP type release, but done by French TV's own Pretentious Dinosaur label. (Dec)

Jethro Tull - Heavy Horses. 1978 Chrysalis (LP). Pulled out of a local store's dollar bin (Dec). The last of the 70s Tull albums for me to hear. Oh wait, I still need to hear War Child. In any case, Heavy Horses sounds every bit like the meeting place between Songs From the Wood and Stormwatch. More rocking than the former and less commercial than the latter. Not very exciting for me though.

* - Keeping for the collection

Monday, December 30, 2024

Happy New Year!

I'm going to forward last year's HNY note, and here's what you can expect for 2025:

We now enter our 17th year of UMR. Last year I hinted at retirement. As the year went on, I felt confident I was going to go one more year through 2025. And then in November it looked like I was facing a whole year of drudgery. Financially it wasn't making any sense for me to keep working, and why was I torturing myself? So I pulled the trigger! I'll be officially retired on January 10. It's surreal. But I've been wanting to retire early for so long it seemed I was going to wait until regular age. But I did it at 60. Barring some sort of catastrophe, my wife and I should be set. Purple Peak Records and all the hobbies surrounding that (and other hobbies) will keep me busy. And fortunately PPR just funds my music habit and nothing else. I did have a good career - thank God for that.

So let's dig into The World of Genius Hans shall we?

Introducing... The 45 Revolution. A new year means a new blog! Haha. I was never comfortable with 45s being part of UMR. Maybe some of the journal activity for common 45s, but all these obscurities needed a new home. To be honest, I don't plan on collecting tons of 45s in physical format. Of course I'm out there digging in the wilds, but most of what I find is what everyone else finds - junk. But I do plan on spending more time listening to rare 45s online, and I'll be publishing my findings there. A great substitute for all the meetings I used to have to endure lol. I also have many titles that I never added to UMR. There will be some crossover with the Unknown Vinyl Blog, but The 45 Revolution (so clever Hans, so clever) will only cover genres I'm into, so no country for example...

Unencumbered Music Reviews: This remains my primary blog and readership is solid. I'm determined to make this blog about albums that I own - or used to own. I've been transferring some reviews out of here because of that. With the advent of the journals, there's been less posting activity, though no less writing. That probably will continue, though I still want to document everything in my collection with a feature (eventually). At least the more obscure and rare pieces. I do plan on publishing journals on a more frequent basis, perhaps monthly on those that have a few entries at least.

Unknown Vinyl Records: Now in its 6th year. New discoveries continue to diminish, though I'm hoping my free time will help me uncover some more unknowns again. Seems a lot of folks caught onto my jam, and are doing the same thing. There's a local seller / friend who just moved here that is doing the same thing as me. I encourage you to read last year's entry below for more info about this blog. 

Under the Radar: Last year I stated: "I primarily focused on "new" bands from the 2010's past (the original UTR as it were). But this year I plan to expand the group list greatly with contemporary progressive rock bands, as time allows. There are so many new groups out there that need exposure anyplace they can get it." Well... I only researched and listened to a precious few. And my to-discover list continues to grow exponentially. But again, time was my enemy. I have every intention of being disciplined around newer contemporary artists for 2025. Expect a lot more activity here.

CD Reissue Wish List: The big news here is the CDRWL is back! I haven't made any formal announcements because I'm still cleaning it up. And I have a long ways to go on that front. Eventually, though, it will be my place to document obscurities that I don't own (and some that I do). I've built up a huge backlog since 2015, the year I shut it down. And my research list is enormous. Expect a ton of activity here for 2025! Take a peek now though. It has a new look, and many entries have been updated. It may not really be a CD reissue wish list anymore, but I'm keeping it because of the brand recognition. I should call it something else. I might.

Purple Peak Records: Going into its 10th year, it's the business wing of my hobby. A self funding ecosystem as it were. This year I plan on selling at both Colorado Springs Record shows, while maintaining a couple of bin rows over at What's Left. There's another friend in town who is thinking of opening up a shop (he would be the most knowledgeable of them all), so I may sell a few things there as well. I also have many other CDs, LP,s 45s, cassettes, 8 tracks, etc on Discogs. I did sell some music on ebay this year, with good results, though it's very limited as to what I offer there. Today ebay is where I sell other items I find like games, VHS tapes, toys, etc... All part of the Purple Peak Records umbrella. I have made a concentrated effort to downsize my collection, and that will continue for the next 20 years, if all goes according to plan.

Instagram: I limited my show-off instincts this year. Some of the guys out there, though, have extraordinary collections that have added to my research lists. I'm going to make more of an effort to share obscurities as well. I'd like to include CDs too, though interest levels, at least on Instagram, remain low. That's too bad.

RYM. This social media site is where Genius Hans goes the most public. I have a very good following, and I do enjoy contributing everywhere I can. It's also the best place to keep Lists. I've now been on that site for 15 years.

Gnosis, I think we all could see this coming. Gnosis was based on older technology and now that technology is no longer supported. It needs to be rebuilt and it's anybody's guess as to how long that will take, if it gets done at all. I haven't been in the inner circle since 2005, so other than a couple of internal updates, I don't know any more than you do. I hope we can get the data out there again. 

Talkies Are a Fad. I'm bagging this for now. I do sense it will make a comeback, but I need to give it focus. Too much else going on.

And yes, I still have the restaurant and beer blogs. The former should continue strong and the latter has slowed down considerably.

Let's hope for a great year!

---2024

We now enter our 16th year of UMR. I was able to maintain consistency throughout most of the year, with work being the primary blocker to my music hobbies. I am considering retirement at any time now. Each year I will make a decision as to whether or not to continue. I have committed to working throughout 2024. Of course, maybe my company has a different plan and will dump me anyway lol. So far they seem to be happy with my work, so we'll see.

As for The World of Genius Hans, the projects of 2023 will remain in effect for 2024. Here's what the music forecast looks like:

Unencumbered Music Reviews: My flagship music blog. Essentially I have different intakes that make up the listening regimen. There's 1) New Arrivals - records (LPs and SPs), CDs, and cassettes acquired via thrift shops, record stores, estate and garage sales, trade shows, and online acquisitions. I'm beginning to realize the pandemic was the heyday of the thrift shop. 2021 was a goldmine for me. The last two years have been slim pickings. Seems there are so many people doing what I'm doing, and I have little time to seek. As for online purchases, that gets less every year, though I'm methodically (and very slowly) filling in some LP want list items that are still attainable. It's getting way tougher for me to buy new CDs - generally it has to be a well done reissue, a box set, or a great archival release. 2) The weed out project. CDs have been the focus for the last year, but LPs are now in play too. Considering the latter, I loaded up on commodities and just decided to keep some of them. But other than the hardcore nostalgic pickups, I'll be throwing those fish back in the sea. They sell well at the record shows, so I'll profit as well. As I say in these posts, I just have too much of the same type of music (and because of this, I may not track them here in UMR, since it's a repetitive theme). For whatever reason I was systematically buying CDs without really thinking through it much. Mostly the time period from 1998 through 2006 seems to be where my CD buying was the most undisciplined. As I hear each, I can understand why I kept them. But there's only so much time - and room. What's "most important to me" is what gets to stay. On that topic, 3) I'm also focusing on albums that are very important to me, but I haven't featured yet. I've also added back 4) Online research to my repertoire. 

Unknown Vinyl Records: Going into the 5th year of this blog, it's been nothing but a blast. Gives me something else to look for while digging deep in the shops and shows, and every once in awhile I meet some interesting people because of it. Most of what I find in the wilds is in the country field (though not always - I've found some great psych, funk, hard rock, jazz, and soul too). There is something special about these 1960s and early 70s era country singles. The sincerity of it all is alluring. Colorado used to be a hardcore country state, so finding them here isn't that unusual. Most of the seriously obscure ones I've kept. Because of this activity I've been able to contribute to Discogs many new entries. I've also started including cassettes here as well, given I've found a few unknowns in the last few years.

Under the Radar: The surprise return of UTR in 2023! Last year I primarily focused on "new" bands from the 2010's past (the original UTR as it were). But this year I plan to expand the group list greatly with contemporary progressive rock bands, as time allows. There are so many new groups out there that need exposure anyplace they can get it.

Purple Peak Records: Since launching in 2015, PPR had increased revenues and profits year over year (sounds like a quarterly earnings call lol). That was until last year where there was a noticeable downturn in online sales. However, JL and I had great success in Austin back in May. He sold most of his rarest pieces (some to me haha), so that was a one time event. I only sell locally here at the Colorado Springs Record Show, but do well every time (mostly LPs and SPs). In addition, I expanded PPR's presence at What's Left Records here in town and have a small section in their shop (LPs only). So if you're ever in the Springs, be sure to stop by and check out what we have there. Or send me a note, and I'll be sure to drive down and meet. Our Discogs store will continue as before with occasional eBay auctions and other Buy-It-Now's. I do not overlap sales, so each offers something different: Record show, What's Left, Discogs, and ebay. Discogs has the most inventory, as that's the primary place I sell CDs.

RYM, Gnosis, and Discogs: I meticulously maintain my ratings on the first two, and try to keep the collection details in order on Discogs and RYM. The master copies of my collection all reside on spreadsheets on my laptop. I also have a pile of lists on RYM, and at some point, I hope to create new ones. Working on a Hard Rock list now. 

Instagram: Started to photograph my LP collection - the non commodities. At some point I'll also feature obscure, but awesome, CDs. 

CD Reissue Wish List: The ancestor to all of my music blogs. I closed it down in 2015 for a variety of reasons and that was a good decision. I do however still maintain the older entries - either linking to new posts in UMR / RYM or updating that they have been reissued on CD. The news section of the CDRWL continues on at RYM.

Talkies Are a Fad. My new television and movie outlet. I needed somewhere to document my thoughts. I was using RYM, but it's only for movies, and I mainly watch "small screen" shows. And even on RYM I don't always feel comfortable sharing what I have to say. This will be a fast growing project. But it will accelerate further once I retire. Right now, my viewing hours are strictly while enjoying lunch during the work week. Anywhere from 15 minutes to an hour depending on how my day is going. I've had blog-like ideas surrounding television shows going back to the late 90s. Just couldn't get around to it prior.

I also maintain a restaurant and beer blog, and the former had its best year in 2023 (it's also my oldest blog going back to 2008). And I have a newer blog that is "everything else" (I titled it in German meaning "Get it for Free"). Entirely irreverent. I just have interest in so many things... These are all under a different nom de plume and I keep separate from my music world.

And with that - all the best for hopefully a wonderful 2024!

Saturday, December 28, 2024

Agusa - Noir. 2024 Sweden


Agusa are one of only a small handful of contemporary bands that I would consider buying new product from at this advanced stage of my collection. Last year's Prima Materia is about as great an album as has been released since the early 90s retro prog renaissance first appeared. I didn't expect so much from Noir, as it's purportedly a soundtrack of some sort. With 15 tracks + five more bonus (presuming not part of the soundtrack), Agusa is performing short form music for the first time that I can recall. They've once again reintroduced a Krautrock element, something they first showed their adeptness with on 2021's En Annan Värld. The stylistic brush is much wider here with nods to electronic, spoken word (like the French would do on occasion in a similar setting during the early 70s), psychedelic, progressive, experimental, space rock, chamber, and folk. Make no mistake, this is Agusa at their psychy proggy best, but with more variety. 

The five "bonus" tracks seem more like they appended a new EP at the end. Focusing more on their Krautrock tendencies. Perhaps even better than the album proper. 

Great music overall and I can see this title being a grower.

Ownership: CD: 2024 Kommun 2. Digipak.

12/28/24 (first listen / review / new entry)

Wednesday, December 25, 2024

Ex Vitae - Mandarine. 1978 France


---2/18/11 (CDRWL)

Ex Vitae's solo album, at times, is at the peak of the French jazzy progressive rock genre, recalling such luminaries as Moving Gelatine Plates and Ma Banlieue Flasque. The complex counterpoint rhythms, fuzz guitar, flute, synthesizer solos, violin, the "je ne sais quoi" attitude. But alas, it's not all so consistent, as there's some aimless free jazz and a couple of pointless experimental bits that show the band tried too hard to be artsy. Still, about 75% of the album is splendid. One can only hope for more great tracks hidden in the vaults.

---12/25/24

Alas no bonus tracks were found. One reviewer called out Soft Machine, especially at the time of their freer jazz era. I agree with that comparison. Title track is my favorite of the four though the opener possesses the peak moments. The album remains slightly out of my grasp. I'll probably keep it anyway, as I do enjoy possessing private presses such as this.

Ownership: LP: 1978 private. Single sleeve. Online acquisition (2000).

Album was reissued on CD by Musea (2018) and LP by Replica (2021).

2000 (first listen); 2/18/11 (review); 12/25/24 (update / new entry)

Tuesday, December 24, 2024

2024 Metal Journal Vol. 3 - Complete

*Helstar - Burning Star. 1999 Century Media (CD) (1984). Collection revisit (Dec). Helstar were one the classic metal bands that I got into about 20 years after their debut. Coming from nearby Houston, I probably should have shown more Texas pride and picked this up upon release. But funds were short in my early days of college, and I didn't read anything that stated they were that much more original than any of the other bands emerging during that era. In hearing this CD for only the second time, I can understand that sentiment from the metal journalists of the day. However vocalist James Rivera (known here as Bill Lionel) could scream with the best of them, and his unique approach definitely adds points. The guitar tones and production aren't particularly heavy, even for the era, but the riffs and solos are inventive. And they do manage to throw a few ideas in per song. One could argue that Fates Warning simply took Burning Star as a blueprint and upped the ante on the complexity for their breakout The Spectre Within release. Early classic metal like this still has a place in the collection.

Casus Belli - In the Name of the Rose. 2005 Limb (CD). One of many from that 2016 buy I still haven't heard. I feel that 2025 will be the year I finally conquer my backlog. More on that topic later. Casus Belli are from Greece and they play... European power metal. So - SO many of these bands like this from that era. I give them credit, they start off with two fast paced numbers to get one's attention. No messing around with arty pretension. I like their tones too. But they're about as original as the rest of them. Vocalist has nailed the Bruce Dickinson tenor, and Judas Priest's Painkiller is front and center for the rhythm section. Man, no one wants this stuff today, each cheaper than the last one. Hype sticker says "Power Metal. ...combines murderous riffs* and rhythms with compositorial elegance**, garnished*** with an incredible vocalist and an exceptional guitar player." OK fine, it is a hype sticker after all. *I'm not sure I'd want my riffs to be murderous though, especially live in concert. **Compositorial is a new word for me, so I looked it up, and it's not used correctly here. ***-Sounds like a fine dining table layout. (Dec)

Legend - The Dark Place. 2013 Workshop (CD). Collection revisit (Dec). In the first entry of this journal I bemoan the fact that Legend's comeback effort was well done, true to their early albums, yet it somehow felt too safe and planned out. The Dark Place came a decade later, is their follow up to Still Screaming, and it remains their last studio effort to date. Starting out like a vintage early 80s Judas Priest album, it doesn't appear Legend are going to take too many chances here either. I do like their guitar tone and Mike Lezala has a great voice for metal (he actually sings!). Legend are to be admired for not jumping on modern metal trends in order to stay relevant. They are, pardon the expression, legends in their own right. And it is that legacy they bring forward here. However there's a dearth of ideas or catchy tunes to keep going forward with. Unfortunately. Interesting to note that the final track, though no longer in duration than any other tune, has the right idea in terms of progressing their sound further. Too little, too late. 

The Mystick Krewe of Clearlight. 2000 Tee Pee (CD). Collection revisit (Dec). Instrumental side project of Eyehategod from New Orleans. The gimmick here is that one of the instruments is a Hammond organ. The music is fairly generic stoner metal fare, though not unpleasant. The organ helps with this, but unfortunately it's buried in the mix. Given the sound palette options, one would hope for more of a stylistic brush. It never really unfolds that way and after some 40 minutes, you realize not much as happened. I appreciate the willingness to expand beyond the same ol' same ol' but they hedged their bet too much and played it safe.

Cinderella - Night Songs. 1986 Mercury (LP). Another Colorado Springs pre record show grab for cheap. (Nov). Cinderella were from Philadelphia and their image was pure glam with teased hair, makeup, and standard issue 80's chasin' chicks fare. The music is really nothing of the sort, sounding very much like AC/DC, maybe Aerosmith for a stretch goal. I could have just as easily written this in the hard rock journal, but metal is where the band is generally categorized. I'm sure the band had talent and could have done far better than this effort, but such were the times to get recognized, and Cinderella cashed in just fine. It's not an embarrassing work, but rather mundane in the scheme of things. While gathering for a family Thanksgiving dinner, little Timmy finds the album buried in a nearby desk drawer, and points to the photo confused: "Did you really used to look like that, Uncle Eric?"

Lanfear - The Art Effect. 2003 Nightmare (CD). From a large metal collection I bought last year. Most were sealed as is this. So off to YouTube to check it out first to see if I might want to keep it (Nov). This looks like typical German prog metal. I'm going to read some positive reviews to get me in the mood for this... Alright found some. They enthusiastically compare Lanfear to Queensryche and Blind Guardian. Oh boy, not more of that. Oh yea, more of that. Well let's see if a melody or sequence catches my ear. Something different maybe? Nope. It's certainly well played and executed. I think prog / power metal was a cottage industry in Europe during this era, and many folks made a halfway decent living doing this. As I said in the first Winterlong review below: "They really were spitting these kind of albums out during this era, huh? I missed it all real time having moved on from this breed of prog metal by the late 90s. Looks to have been a prudent move."

Eldritch - Headquake. 2006 Limb (CD) (1997). Collection revisit (Nov). Somehow I ended up with five Eldritch albums, I think because they were deep discounted at some point. I did first hear Seeds of Rage real time, but everything else came much later. The Italy based Eldritch could be seen as the blueprint for European prog / power metal that would become commonplace in the 2000s. The raw and quirky tech thrash of the early 90s morphing into the very professional sound of Dream Theater. I do appreciate their gritty tone, much less friendly than their contemporaries. The use of synthesizers is more atmospheric than showy. Vocals (from American Terence Holler) are from the LaBrie school without the wimpy moments. It's tough to evaluate these albums at such a late stage primarily because I have so much of it already. I sense that if this was one of my first discoveries in the genre, I would have played it numerous times and many of the sequences, breaks, and melodies would be burned deep into to my soul. Super package with a slip case, a full poster of the cover, thick booklet with lyrics, photos, and a short biography. And four bonus tracks. Great value. Despite all of that, just too much of the same thing here for me to hold onto.

Iron Cross. 2001 Iron Glory (CD) (1986). Collection revisit (Nov). After first acquiring the CD, in Dec 2004, I wrote: "More great vintage thrash with plenty of mid tempo pure HM. Similar to the Griffin I spoke of before, though this is clearly more bar/basement. Florida group foreshadowing the impending death metal movement that prevailed, and ultimately dominated there. Iron Cross could also be considered a tangent Savatage (another Florida group) could have taken had they explored more with thrash. Some prog moves and moods with solos closer to 70’s hard rock than 80’s hair metal pig squeal. All the songs are about death, demons, Halloween, etc… traditional bonehead metal fare. Check out the Umberto Eco-like prose on ‘S+M Medley’: “Tight Jeans well they hypnotize, you got pulled tight to the perfect size and you know you should have buttoned your shirt”". ------In hearing this CD again for the first time since, I'll pull back the thrash comment and attribute it more to US Power Metal, like fellow Floridians Iced Earth. Early Savatage remains the best guidepost here along with the classics such as Judas Priest and Iron Maiden. It's a very amateurish take on all these bands, and while I usually reward such endeavors, this one needed a bit more time in the production room. The CD adds bonus tracks from 1991 and 1999, and it appears additional ones from the original recording session. Oddly the band never improved. Were I fortunate enough to own this as an original LP, I'd likely treasure it, considering it's financially truly a treasure. But barring me from running into a copy by accident, the CD doesn't help bring this title to life. I experienced a -1 listen and will let it go.

*Iron Maiden - Somewhere in Time. 1986 Capitol (LP). Collection revisit (Oct). As noted often here, I was a big fan of Iron Maiden real time, so all of their albums from the 80s have a special place in my heart. I bought this LP when it came out in my senior year of college, and I saw them live in January of '87 in Lubbock. I found the ticket stub the other day. Considering that Powerslave was burned deep into my DNA, any album coming after that would be tough to absorb. But Somewhere in Time is a great follow up. RYM has it as their 4th highest rated behind their two recognized masterpieces: Powerslave and Number of the Beast. Seventh Son gets the 3rd spot, but I would beg to differ. I'd probably place the debut and Piece of Mind higher myself, but we're splitting hairs at this point. Generally I read that Somewhere in Time is where they embraced synthesizers. I suppose so... but Iron Maiden were always proggers at heart, something I find myself repeating often in these pages. Somewhere in Time is the first Maiden album that I didn't listen to incessantly upon release, as I was very heavy into the 70s European underground by this point in my life. Which, in a way is good, as I can still experience musical discoveries here. I also own the Sanctuary CD that offers bonus videos. I should actually watch those someday.

Haji's Kitchen. 1995 Shrapnel (CD). Collection revisit (Sep). These guys were from my old stompin' grounds of Lewisville, Texas (Dallas suburb). I bought this not long after it was released and I was quite taken with the sound at the time. I always liked the premise of groove metal, that of a slower thrash, but with heavier guitars and more bluesy solos. Vocals were often a problem, but they aren't really egregious here. The issue I have is the similarity of each subsequent track. The opener on Haji's Kitchen is 'Machine' and it's a great wake up siren. But it sort of meanders from there. They needed more something, whether it be complexity or palette of sound or not-sure-what. They do add some intriguing elements on occasion but not enough to deviate very far. This album is held in high regard for genre fans, and I can see why. But I think I'm going to move on from it.

Winterlong. 2005 Lion (Finland) (CD). Thrift shop find (Sep). From the off, this sounds like a distinct improvement on their debut Valley of the Lost. And it becomes apparent they're copying Iron Maiden rather than the multitudes of Euro power metal neo-classical outfits. And that's a good thing. Unfortunately they aren't exploring that sound further as the namesake Iron Maiden currently is. As the album rolled on, their speed metal roots came to the fore. Gotta do more than that in 2005.

*Ratt (EP). 1984 Time Coast (MC) (1983). From my buddy's garage sale (Sep). Solid debut from San Diego's Ratt, a band that rode the fence between solid traditional metal and glam. Really not that much different from their California brethren Motley Crue. Sort of an updated and metalized Aerosmith. Lots of swagger and politically incorrect sexism. You know, the good ol' days. For a dollar cassette, I think I'll hold onto this one.

Winterlong - Valley of the Lost. 2001 Lion (Finland) (CD). Thrift shop find (Aug). Standard issue neo-classical power metal from Sweden with fast chromatic scale solos and synthesizers going at about the same speed. Vocals are aggressive but non-abrasive. There's some grittiness here that I appreciate, but they're too accomplished to be that interesting lol. It's good, of course, and not painful to sit through. It's just the same ol' same 'ol. They really were spitting these kind of albums out during this era, huh? I missed it all real time having moved on from this breed of prog metal by the late 90s. Looks to have been a prudent move.

Legend - Still Screaming. 2003 Monster (CD). Collection revisit (May). Kind of a bummer that I didn't really get much out of this reunion release. I love the early Legend albums, all pioneers of the original NWOBHM movement. Still Screaming is very much in spirit with those albums too, not a change in direction. But it lacks the angst and naivety of youth. Too stale and rehearsed. It's good, yes, but I don't need more of it.

* - Keeping for the collection

2024 Classic rock / AOR Journal Vol. 3 - Complete

Baby Boom - Driven Too Far. 1987 Cheese (EP). Pulled this out of a local buck bin (Dec), and one of their 45s was stuck in there as well. So I'll be checking that one out soon too. Private pressing from Red Bank, New Jersey. Driven Too Far is what one would just call a rock album (or EP in this case) similar to The Flying Boxcars below. Four straightforward songs with two guitarists who never take the spotlight. As it plays on, I think their spirit guide was Dire Straits. Decent effort.

Eric Quincy Tate - E.Q.T. 1975 GRC (LP). Found this sealed for a buck at the same store in Denver as The Flying Box Cars below (Nov). Don't want to break the seal yet, so I'll check it out on YouTube first. There's no one named Eric Quincy Tate in the band. They apparently were discovered by none other than UMR favorite Tony Joe White, which makes me want to hear their first album. This is their 3rd effort. Based on what little data is out there, EQT were from southern Texas (either San Antonio or Corpus Christi). Eventually they migrated to Atlanta. Technically this falls in the Southern Rock genre, but to me it's more country rock. There's nothing on the first side that caught my attention. The second side is much more interesting. 'Drivin' Wheel' sounds like one of the Allman Brothers bluesy tracks with some fine guitar from Wayne Sauls and Hammond from Joseph Rogers. This leads to the 15+  minute closer 'Big Boss Jam'. Starts off in hard-times blues territory before finally getting into jam-rock mode five minute in. It's mostly a boogie styled jam with plenty of pounding piano. Not my kind of album, but not hard to listen to either. Average for the style.

Queen - News of the World. 1977 Elektra (LP). Also from the Colorado Springs Record Show (Nov). This time from a dealer I only knew from Denver who usually has good deals (as was this). I haven't heard this album since it came out. I was in junior high. There are few albums in the world that have as iconic an opening as this one does. 'We Will Rock You' is still, and maybe forever, played in arenas worldwide. 'We Are the Champions' is no less used in a similar setting, usually after all is said and done and your team won. Despite this, the album isn't nowhere near their most famous, nor as highly regarded. As noted here (too) many times, I'm no fan of Queen. They just don't seem able to bring any kind of consistency, and their theatrical glammy roots always rubs me the wrong way. 

Zebra. 1983 Atlantic (LP). Same dollar bin as below (Nov). Much was made when this New Orleans based band arrived on the world stage, with comparisons to Led Zeppelin and Rush being brought forth. Randy Jackson gives a Plant like performance without the blues edginess. Though billed as a proggy hard rock band, it's definitely AOR. 'Who's Behind the Door', which closes side one, was a minor hit and a very intriguing song, and the one place you can hear the Rush influence. The album closer might be the best track here. 'The La La Song' is probably the heaviest and proggiest thing here despite the fluffy premise. Other than the ill advised boogie rocker 'Slow Down', everything here is easy to absorb. But it all seems watered down. A production boost to highlight the hard rock angle of the band would have gone a long way to obtaining street cred, and an album that would be revered highly today. As it stands, it's a mere anachronism in the time of New Wave synth pop.

The Alan Parsons Project - Stereotomy. 1985 Arista (LP). Found for a buck at the Colorado Springs Record Show (Nov). I've had it before, both on LP and CD, but why not try it again? Parsons' post Eye in the Sky albums all struggle with catchiness. While he dabbled in prog rock, his Project efforts were always more AOR oriented. So when the music fails to be memorable, then there's nothing else to hold onto. The production is way slick and they're obviously working hard for radio hits. I had this rated too low, likely a reaction real time towards my disappointment that this wasn't Eye in the Sky. All the same, it's not something I need to own. I'll likely get a 600% return on my investment. Or six dollars for you math majors out there....

The Flying Boxcars. 1980 Rufert (LP). Found this in the buck bin of a Denver store this past weekend (Oct). I'm sure many of you wondered whatever happened to the perfectly named ex-Cain singer Jiggs Lee. I mean who wouldn't? Turns out he formed or joined The Flying Boxcars. This private press from St. Paul, Minnesota is what we used to call a "rock album". Eclectic without any identity or focus. Recorded (or written) between 1976 and 1980, the songs vacillate between AOR, boogie, hard rock, prog, and whatever else they felt like doing. They clearly wanted to be discovered and receive airplay. I'm guessing they did at least get some local or regional radio coverage. The highlights include the great synthesizer work, the occasional organ, and of course Lee's voice. Unfortunately none of the songs are highlights and the album sort of flies by without notice.

Aviary. 1979 Epic (LP). From the Rocky Mountain Record Show (Oct). Aviary is a large cage for birds, and the guys on the front certainly look like they belong in one! Remember "feathered back" hair? Haha. Well anyway, I had been told this is a very good proggy AOR album so I chanced it. While I can see the allure, the album comes from that strain I don't care for so much - that of Queen and ELO, with a little Beatles thrown in for good measure. Not for me I'm afraid.

El Chicano - Pyramid of Love and Friends. 1975 MCA (LP). Obtained with the below (Oct). Similar to Cinco but perhaps even more transparent on their commercial direction. They want that label money, that's for sure. I would submit that the songs are a bit better here than on the predecessor, but that's not saying much. I'm bummed honestly, expected much more from these. At least I can look forward to hearing their first two albums, if I ever find them that is...

El Chicano - Cinco. 1974 MCA (LP). From the same dealer as the Swallow (Oct). To date I've only heard Celebration, a solid Latin rocker in the Santana / Malo tradition. Two years later, El Chicano has toned down their sound considerably. While Carlos and co. were upping their game with high flying fusion, El Chicano seemed to have an eye on the radio charts. There's almost nothing here that is catchy, and there are very few instrumentals save the closer. All the songs except one are covers. Not a bad album but sounds like a sellout. 

Swallow - Out of the Nest. 1972 Warner Bros. promo (LP). Also from Stanley but a different vendor (Sep). I had this LP about 20 years ago when I bought a few horn rock albums on ebay for deep discounts. I sold it back into the marketplace, but here it is for $2, and I forgot the contents (one more reminder as to why I keep these journals). Let's try it again. Swallow were from Boston and Out of the Nest features no less than an 11 piece band. With such a large lineup one would hope for more music! But alas it's mostly early 70s styled North American classic rock with some country thrown in. A4 is great and the sole Chicago styled brass rocker. B1 isn't too bad either from a horn rock perspective, other than some out of place vocals. The rest isn't for me. Overall average at best.

Foreigner - Foreigner 4. 1981 Atlantic (LP). Grabbed for a buck at the newly minted Stanley record show in Denver (Sep). My rating for this was really low, a reaction real time to what I perceived Foreigner to be back then. By 1981, I was going underground, and had no use for mass acceptance pop slop like Foreigner! As noted on their debut, I was a fan of theirs as they started when I was all of 12. In hearing that debut album again only a few years ago, my view softened considerably, and nostalgia took over (I kept the LP). I imagine a similar response will occur when I revisit Double Vision. A reunion with Head Games didn't have the same positive response, so will Foreigner 4 do any better? I'd submit very much so. Make no mistake, this isn't getting collection space, but it does represent the time and place quite well. Compared to the garbage REO Speedwagon and others were spewing out, this is downright Yes in their prime. Even Journey was below this effort in 1981. It's still way too much panning for hits for me to take overly seriously, but not bad. Not bad at all.

2024 Fusion / Jazz Journal Vol. 5 - Complete

Herbie Hancock - Mwandishi. 2000 Warner Bros. (CD) (1971). Collection revisit (Dec). I recently revisited the follow up Crossings and my view there applies here as well. This is an album I want to like but I just don't feel it. And since it's more about spirituality than tactics, then it's imperative I do connect with it. I've tried for some 20 years, but this music isn't where I exist. Doesn't diminish my appreciation one iota, but have to be realistic to what I enjoy.

*The Platina - The Girl With the Flaxen Hair. 2003 Mio (CD) (1976 archival). Collection revisit (Nov). My notes from 2005 stated: "Interesting archive album that mixes flute based rock with more avant saxophone jazz. First half of the album and latter tracks are fantastic, recalling a European sound found in bands such as the French group Triode. The wheezing jazz bits are a bit wearing for me, but probably not for those who normally enjoy that sound." That's pretty much it really. It's definitely more of a jazz album than rock. Plenty of interesting moments but not really any highlights. I'll keep for now as unsold original new stock has reemerged into the marketplace for dirt cheap. 

Miles Davis - Sorcerer. 2005 Columbia Legacy (CD) (1967). Collection revisit (Nov). Yea this one is sort of middle-of-the-road Miles jazz. See Seven Steps review below from what I like from Davis. I pretty much have a full shelf of albums by him, so some of these have to go. The Legacy reissue is excellent of course.

*Buckner Funken Jazz - Demo. private (MC). I pulled this out of my friend's garage sale a couple of months ago. One sided demo tape. Pretty much what it says on the label. This is stage band styled jazz. There's no data on the tape, except for a business card that says Rod Buckner is the leader. The phone number area code indicates he's from nearby Denver. Solos from trombone, trumpet, and saxophone. Electric bass and drums round out the primary sound. The first tune I recognize as a standard, but couldn't tell you what it is. Alright, now let's see if they're on the internet. Yep! They call themselves an old school funk band. Hmm. This isn't the JB's that's for sure. There is rhythm guitar which helps with that angle. Sparse vocals. OK, I recognize the Average White Band on one cover tune. Some really good electric guitar jamming on this track but buried in the mix. The music improves as it goes into more of a jazz rock direction (still not much funk). Looks like they're still playing as of 2024. I'm going to contact Buckner to get more info about this tape (I did - and no response, oh well). (Nov)

*Miles Davis - Seven Steps to Heaven. 2005 Columbia Legacy (CD) (1963). Collection revisit (Nov). Unfortunately I have way more Miles than I need (or perhaps want is the better word). I've already shed a few of his albums, and now comes the next round of cuts. Not to worry, I have every intention of keeping my favorites till the end. Kind of Blue is Mrs. UMR's all-time favorite album and something we listen together quite a bit. Get Up With It remains my favorite electric period album, a strange choice I realize. And many more keepers including Agharta which is where it began with me and Miles. I find myself drawn to Davis' polars, either that of the lounge relaxers like Kind of Blue or the intense ragers that define the Bitches Brew era. Anything in the middle sort of flies by without notice. The opener 'Basin Street Blues' gave me that mellow buzz I crave from Davis. Same with 3 and 5 and... Yea, I have to keep this one too. Yet another great Legacy reissue.

*Freddie Hubbard - Sky Dive. 1973 CTI (LP). Collection revisit (Oct). It's only been a year since I found this in the waning days of Independent Records. But I didn't write anything down and every album has to have a reference point for me to keep. This one passed easily. I really enjoy this period of friendly-to-the-ear jazz, that of melodic compositions and fine soloing. Sky Dive album brings together a slew of jazz A-listers, and the results bring me back to a musical era that needed to last longer. Yet another brilliant thick gatefold cover with intriguing art brought to us by Creed Taylor. In reading his biography, that was no accident. He firmly believed a great package would lead to more sales, and he was proven correct. Too bad not everyone saw that value.

* - Keeping for the collection

2024 Psychedelic / Garage Journal Vol. 4 - Complete

*Ultimate Spinach - Behold & See. 1995 Big Beat (CD) (1968). Collection revisit (Dec). Ultimate Spinach's second album is an inventive psych album from the freewheeling 1968 landscape. Part of the Bosstown manufactured set of groups, Ultimate Spinach mixes Jefferson Airplane hard hitting female sung psych combined with long experimental tracks. 'Mind Flowers' is as close as any band has come to sounding like the great Group 1850. Not long after recording this opus, the primary group dissolved and the label had to scramble to piece together an unrelated set of musicians to complete their third and last album. Yet another tale from America of great talent wheezing out before taking it to the next level. Given the commercialism of our music industry, perhaps not a bad sequence of events. Interesting reissue supervised by Alan Lorber, the man who created the Bosstown brand in the first place. One track is missing and apparently others have been altered slightly. Borderline free association liner notes. If I find the LP, I'll have to compare the differences.

*Wolf People - Tidings. 2010 Jagjaguwar (LP). Collection revisit (Nov). My original notes from 2011 were: "Tidings is a compilation of singles, with nicely done artsy interludes, and is more geared to late 60's psych similar to Gary Ramon's Sun Dial project (especially Other Way Out). Wolf People have truly captured the essence of another era, and aren't just a retro copy band. Definitely start with Steeple though." This was my second encounter with Wolf People after Steeple, and both were relatively new at the time. As noted on these pages, two albums later came Ruins which I think is one of the greatest albums from the last decade. And sadly they haven't released anything since though it appears they are still around. But one can hear their trademark sound here on Tidings. This is an odd release as it compiles two of their singles from 2007 that appear to have been also issued on cd-r in 2006. Discogs calls them a psychedelic folk rock band, but I would never associate folk rock with Wolf People. However one can hear that strain on Tidings, so it's not inaccurate. This album had fallen to the bottom of the rankings, but I was certain not to let it go given my affinity for their three fully realized works. The album provides historical context for this great band.

*Strawberry Path - When the Raven Has Come to the Earth. 1998 P-Vine (CD) (1971). Collection revisit (Nov). An interesting duo from Japan. Years ago I compared them to Tractor, but I think they're closer to the post Hendrix sound with additional organ. At times they really jam out. They also throw in ballads, a drum solo, and a melancholic proggy closer complete with flute. Debated on whether to keep this, but it's just unique enough for a +1 rating, and this CD is a wonderful mini-LP reproduction.

* - Keeping for the collection

2024 X-Wave Journal Vol. 1 - Complete

Machinations - Big Music. 1985 White Label (LP). From a store in Pueblo (Oct). Nice Australian original of a New Wave album I was entirely unfamiliar with despite eventually obtaining a US release on Epic and being a hit. Not only is the title Big Music, but the band obtained the Kleenex effect by having an entire subgenre named the same as this album (though technically the genre is credited to The Waterboys). I enjoy this kind of New Wave, high energy and dance oriented. Nothing really grabbed my ear for repeated listens, and I have a few others like it in the collection, so not something I need to keep. But table stakes for genre fans I would imagine.

*Deutsch Amerikanische Freundschaft - Alles ist Gut. 1981 Virgin (LP). Also from T&R (Aug). Excellent thick sounding synthesizer and real drums. It's a Conny Plank production for certain. Vocals sort of drone on in German, reminding me a bit of Sepi Kuu (of all groups) which came to me after the second listen. Musically it's like a German reaction to America's disco. Robotic and repetitive. Kraftwerk is a necessary comparison, but DAF are more sinister in tone. I don't have anything like this in the collection so I'm keeping it.

A Certain Ratio - Live in America. 1987 Dojo (LP) (1985). From T&R sale (Jul). Intriguing album sounding something like a musical Throbbing Gristle. Live recording is a bit distant but I heard enough to think their studio albums might find a place in the collection. But will I find them as I did this?

Mike Rutherford - Acting Very Strange (LP). 1982 Atlantic. From the Showrunner's garage sale (Jul). Much worse than I thought it would be. All the Genesis members were hungry for pop stardom, but Collins proved much better at it.

---I bought a large 125 piece collection in July. Many were in this category. The ones below came from that. 

INXS - Shabooh Shoobah. 1982 ATCO (LP). I found myself enjoying The Swing, but the later titles haven't done much for me. So I thought the album prior would have more positive results. A little bit yes, but still nothing I feel compelled to keep. They need something - more energy maybe? (Aug)

Duran Duran - Notorious. 1986 Capitol (LP). Disappointing 4th album, even less so that Ragged Tiger. Misses all that was great about their first two albums. Just boring 80s pop music. (Aug)

*Talking Heads - Remain in Light. 1980 Sire (LP). I'm not convinced this is one of the greatest albums of all time, but I do find it intriguing enough to keep. It's non-commercial in nature yet maintains wide appeal. I suspect this is a kind of gateway drug to the experimental for many people, and so it's exposure allows for early epiphanies. When these folks discover other like minded people are out there - in fact it represents a majority - the momentum builds even greater. Then it appears they cannot rush fast enough to carve out their slice of how great it is, even if it may not be. Time and place remains one of the primary reasons for an album's adulation. (Jul)

Talking Heads - Talking Heads: 77. 1977 Sire (LP). As noted with their follow up, More Songs about Buildings and Food, Talking Heads were considerably ahead of their time. This debut underscores that. Which doesn't necessarily translate into a more pleasurable listen for me. In fact, a bit less. I didn't take notes, but I also heard a couple of their less respected mid 80s albums, and those are more generic and even less to my taste. (Jul)

Devo - Are We Not Men? 1978 Warner Bros (LP). I don't think Devo is going to be my artist of choice. This is their influential debut, and it's here they create their iconic sound. Innovative for its time, though not my style really. (Jul)

Devo - Shout. 1984 Warner Bros (LP). By this point, Devo sounds like every other synth pop band, and are pretty far removed from their unusual arty stance of the past. (Jul)

---end of sale

April - Magical. 1990 Metropolitan (LP). This was from that big haul that I mostly documented in the soul and fusion journals (Jun). April Kelly was a girl on the rise as the 80s closed. Her music is called Freestyle, but she sounds a heck of a lot like Madonna to me. And has the look too. At first I quite liked this high energy dance styled music  But as the tunes wore on, they all sounded the same (just like with Kon Kan). I would say it's average for the style. Rare album at least.

Kon Kan - Move to Move. 1989 Atlantic (LP). Estate sale pickup (Jun). Same day but different sale than the Flock of Seagulls buy. At first I found myself enjoying the high energy dance music, but as it wore on, it's too much of the same thing. In fact the album comes across as dated for 1989, copying what occurred throughout the decade with synth pop, but it was time to move on.

A Flock of Seagulls - The Story of a Young Heart. 1984 Jive (LP). Cheyenne Mountain estate sale pickup (Jun). A Flock of Seagulls' third album sees the band maturing, but not as much fun. It's better than its reputation but it is kinda dull in the end.

---The next entries are from a large amount of albums that I bought at the last Colorado Springs Record show (May) from an Australian guy who happened to setup next to me at the last show.

INXS - Kick. 1987 Atlantic (LP). My thoughts here echo what I said about Listen Like Thieves. It's a very ordinary pop rock record and misses the vibrancy of The Swing. The big hits from this album I do like such as 'The Devil Inside' and 'Need You Tonight' but mostly this is blandola. (May)

Talking Heads - More Songs about Buildings and Food. 1978 Sire (LP). Talking Heads were a very prevalent band during my high school years of the early 80s, but they were already well known by the late 70s. I don't think I've ever given the band enough credit for how different they truly were in their era. This is miles away from the generic AOR being pushed down our throats back then. It's a no wonder they were pioneers of New Wave. This is a very good album, with various world music influences, but not enough for me to hold onto. I feel like one of their albums is going to make it though. Been at this "digging in the wilds" thing for 5 years now, and this is the first Talking Heads for me to find. They get snapped up quick, or you pay full price at the record store. The latter is what will happen when they buy this from us. :-) (May)

XTC - English Settlement. 1982 Epic (LP). Single album version, though I can't imagine the double swaying my opinion much here. XTC are one of those 80s bands I thought I missed back then. But so far all I hear is ordinary pop music. Seems I might like their earliest work best. (May)

Wham! - Make it Big. 1984 Columbia (LP). Well it doesn't get any gayer than this. As a straight guy, I do have to admit to wishing I looked like George Michael back in the day. Can you imagine the selection of girls I would have had? This is where I get religion, as you can also imagine the amount of trouble I would've gotten into. Thank you God for protecting me from myself. The only song I know from this is 'Closest Whisper' which is a very fine smooth jazz pop number. But it's not really representative. Much of it is showtooney Broadway styled brash pop, which goes hand in hand with the culture. Not for me. (May)

New Order - Brotherhood. 1986 Factory (LP). New Order are one of those bands that I probably know better than I think I do. Their beginning was after Joy Division broke up after the suicide of their lead vocalist. All the same, I hear this as "just one more" 80's album. I didn't recognize anything from it, and that seems to help when analyzing albums such as this. All good, but nothing more. (May)

Pet Shop Boys - Please. 1986 Parlophone (LP). First UK pressing. This is the first one up from the sale I mentioned above. Like Dead or Alive below, this is one of the more iconic releases from the gay synth pop movement. I always liked 'West End Girls' and there's a few other tracks here I enjoyed. But I have enough representative albums of the era, so this one can go. (May)

---end of sale

*Dead or Alive - Youthquake. 1985 Epic (LP). The next three albums come from a buy at an antique mall (Feb), all priced way below market. Youthquake is about as representative of the 80s synth-pop dance culture as any you can possibly name. OK boys, get out your eyeliner! Music like this was the exact opposite of what I was into in 1985. Today I hear it as an encapsulation of the era in which it was released. Highly melodic, well composed, and very danceable. Not sure how many 80s albums like this I will keep, but this one is likely to hang on longer because of its iconic sound.

Bangles - Everything. 1988 Columbia (LP). Bangles are one of those bands I find myself rooting for, but I just can't get into them. Their first two albums fell a little short of acceptance, but Everything - their 3rd effort - falls into the disappointing category. Straight forward begging-for pop hits and nothing more. Throw out 12 (12!) three to four minute boring tracks and hope for the best. Not for me. (Feb)

Berlin - Love Life. 1984 Epic (LP). This is the second time for me to try for this, the other came from the large collection buy in 2019. I've warmed up to their second album Pleasure (and this seller also had the rare small label pressing of that album that I picked up for the collection), so I thought maybe I'd feel similar about their 3rd release. Nope. It's a hair better than the Bangles' junior year offering, as there were a couple of decent instrumental moments. But otherwise they wasted Terri Nunn's hypersexuality to produce a rather safe New Wave album. Average at best. (Feb)

* - Keeping for the collection

2024 Funk / Soul Journal Vol. 3 - Complete

Aura. 2011 Lion (LP) (1977). Collection revisit (Nov). Aura were a funk band from San Francisco that released this one very rare LP before disappearing. It mostly falls to the female sung soul side of the equation, though the organ and psychedelic guitar go a long way to enjoying it at a Funkadelic level. Melodies are nice and I appreciate the horn charts. There's nothing earth shattering here and the LP reissue offers nothing else, so I can let this one fly.

Foxy - Party Boys. 1979 Dash (LP). From the Austin Record Show last year (Apr 2023/Aug). It's sealed so I decided to check it out online to see if I wanted to keep/open it. Naw. Even with my new found appreciation of disco, this title is fairly average despite Airto's involvement. Mostly disco with some funk, but 100% dedicated to the dance floor. 

Johnny Pate - Shaft in Africa. 1973 ABC (LP). Thrift shop find (Aug). Solid funky soundtrack with The Four Tops providing the songs. Lacks the monster tracks that Isaac Hayes brought to the original though the core sound is more appealing. All the same, it's still incidental music, and that diminishes the impact on repeated listens.

*Righeira. 1983 Teldec (LP). From T & R (Jul). Interesting release that is sung in no less than five languages: Spanish, French, German, English, and their native Italian. Righeira play in what is known as Italo-Disco which seems to have more in common with Kraftwerk than Chic. It makes for an interesting listen, and it sounds like there are plenty of good albums in this space. Not sure where Righeira falls, but I enjoyed it enough to keep it, since it's unique to my collection.

* - Keeping for the collection

2024 Folk / Country Journal Vol. 1 - Complete

Spirogyra - Bells, Boots and Shambles. 2005 Strange Days / Polydor (CD) (1973). Collection revisit (Dec). Third and last album from Spirogyra. An improvement on Old Boot Wine but not as satisfying as their debut. Mostly folk rock while the prog rock elements are fairly muted here. The opening cut offers the most interesting material. The lengthy closer isn't as exciting as hoped. It's one of those "good enough for 2005" CDs that just aren't taking me to the next level 20 years later.

Aigues Vives - Water of Seasons. 2004 Garden of Delights (CD) (1981). Collection revisit (Nov). My initial listen notes from 2006 stated: "On paper, and in practice, German folk albums sung in English are a dicey proposition. Unless they go the cosmic rock route like the Pilz acid folk bands such as Holderlin's Traum, Emtidi's Saat, or Broselmaschine, you probably can expect a schlager influence here or there. But Aigues Vives avoids the beer drinker plugs, and sticks to the extended complex arrangements that can make folk rock interesting. Nice flute, violin, and guitar leads. Not at the same level as Emma Myldenburger, but a nice discovery. " In listening to it again, I hear an odd strain of Quebecois styled prog folk here. A bit of Harmonium and other lesser known bands. Maybe the French reference goes beyond the band moniker after all. The instrumental sections are far more engaging than the vocal ones. Notably the album closes on a strong note. Kind of sneaks up on you. CD adds four bonus tracks from a planned 1983 album that never surfaced. Here Aigues Vives moves their sound further west to the British Isles. Comparisons to Gryphon wouldn't be incorrect, including their progressive phase. Tempted to keep this one, but it lacks any major highs, so I will let it go.

Langsyne. 2012 Garden of Delights (CD) (1976). Collection revisit (Nov). Mostly an English sung folk album, but one with haunting atmospheres provided by the use of woodwinds and organ. There are shifts in tone within the compositions, giving credence to the progressive tag. I've seen reviews correlating Langsyne with the Pilz cosmic folk movement, but the vibes are different. The angst of Krautrock isn't present, though there are odd references to the esoteric late 60s American Greenwich Village folkies who morphed into the San Francisco scene. One can understand how such an extinct artifact would be highly collectable, though it's allure is limited to a narrowly focused group. CD offers no less than 15 bonus tracks. Strangely, despite the usual exhaustive documentation regarding the group and album, the provenance of the bonus tracks is covered in a simple sentence that they are from the 70s. While it offers good value for your CD expense, it's much more sparse and threadbare. Sounds more like a 60s John Fahey album on Takoma. This can go.

Mellow Candle - Swaddling Songs. 1993 Si-Wan (CD) (1972). Collection revisit (Sep). I've never been convinced that Swaddling Songs was a great album, but there are too many people I respect who hold this one in high regard. Looks like it's been 11 years since I last dove in, so I thought I'd give it one more try. Post 2018 has seen my musical palette expand dramatically. But unfortunately I hear this album as I always do: A pleasant folk rock album. It's not a case, as we often see, of pure folk masquerading as a prog album. It definitely has a rock component. But at this stage, after having owned either a reissue LP or CD for 30 years, I think I can safely move on here.

Dawson - The Other Side of the Hill / Lucky Stars. 19?? Celesta. From a thrift shop in Woodland Park (Jul). This one checks two boxes. Local grooves and seriously obscure. Dawson were from Aurora (or at least the label is) which is a Denver suburb. Not too many country songs start with an electric bass groove. It gets to country pop soon enough complete with some mean hoedown violin, a little bluegrass, and steel guitar. 'The Other Side of the Hill' is a heck of a lot of fun. 'Lucky Stars' has some Western Swing going for it. Looks like a 70s or 80s single, so a bit of retro going on here. 

2024 Hard Rock Journal Vol. 3 - Complete

The Michael Schenker Group - Assault Attack. 1982 Chrysalis (LP). From the Colorado Springs Record Show (Nov). I've enjoyed a nice reunion with MSG. Their debut is now locked deep into the collection, based on a strong nostalgic pull. The second album I was familiar with due to an old tape recording, and I enjoyed revisiting that as well. I did decide to part with it eventually only because it was largely a rewrite of the debut. Anything after that, though, will be new to me. And to Schenker's credit he did mix it up a bit on Assault Attack. Bringing hard rock veteran vocalist Graham Bonnet gave the sound a new tenor. The keyboards are in the background, but it's mostly organ which is curious. The production is solid, giving it a real oomph that hard rock as a genre calls for. The question remains - is it unique enough for collection space? No.

Triumph - Surveillance. 1987 MCA (LP). Found at the Rocky Mountain record show in Denver (2024). Eleven years from their debut, and after many years of radio success, what could Triumph possibly offer at this late date? Def Leppard apparently. Naw, it's better than that band's later works but it's essentially the same kind of juiced up commercial hard rock. Kind of a last hurrah from Canada's other finest trio (Rush being the other of course...). By 1987, Triumph were irrelevant, but at least they gave it a respectful try. 

Uriah Heep - Abominog. 1982 Mercury (LP). Thrift shop find (Oct). The album prior to Head First and similar sounding. Many apologists out there proclaiming Abominog was a return to form. Not really. It does still have some of that trusty and dusty organ, but also plenty of period synths and a strong try for MTV airplay. Good for its era, but not at the next level like Saga (as but one example) were at this stage. More tracks like A1 and B4 would have helped its legacy.

*Badger - One Live Badger. 1973 ATCO (LP). Collection revisit (Sep). The biggest challenge this album faces is that of expectation. Tony Kaye of Yes + Roger Dean gatefold cover will do that. But it's not a prog album, rather a good jamming hard rocker. Kaye's organ and mellotron contrast nicely against Brian Parrish's lead guitar. Even Peter Banks took a lot of Yes with him to Flash, but no such luck with Kaye. With five of the six tracks totaling between exactly seven and eight minutes, this allows the group to flesh out their jams without exhausting them. Not exactly a unique sound for the era, yet had this been an obscure UK or German band, the album would sell for hundreds today. The hidden star here is Parrish (real last name Morris), who had bounced around the Swingin' London scene throughout the 60s and early 70s. Badger would appear to have been his big break but it wasn't meant to be. He tried for solo stardom in the mid 70s and then basically disappeared for about 20 years. I'm sure there's a story there. 

Def Leppard - Adrenalize. 1992 Mercury (MC). Back to my buddy's garage sale here in town who had all the tapes for a buck (Sep). Admittedly I was a bit of an apologist for Pyromania, preferring nostalgia over quality. Adrenalize is two albums on from that and oh boy, is this bad. We're talking crawling around on the floor hoping to find a few pennies to ultimately buy a bottle of cheap whiskey. They want the middle 80s back so bad. That time was in the rearview mirror and so was this kind of tired pop music guised as hard rock. Pathetic.

* - Keeping for the collection

Sunday, December 22, 2024

Top original LP scores of 2024

A bit showoffy I suppose, my Protestant upbringing constantly reminding me to be humble. But what the heck, I want to play too! :-) I posted this on Instagram, but I'll throw the photo in here as well.




Monday, December 16, 2024

2024 Prog Journal Vol. 3 - Complete

Popol Vuh - Seligpreisung. 2004 SPV (CD) (1974). Collection revisit (Dec). One of those albums I originally owned on vinyl on the Pop Import imprint and traded in for the CD. Seligpreisung is the odd album out sitting in between their groundbreaking New Age statement Hosianna Mantra and their more intense emotional workouts like Einsjager & Siebenjager, Das Hohelied Salomos, and Letzte Tage - Letzte Nacht. Florian Fricke handles the vocal duties here, to its detriment. Not that he's a bad singer like many of his compatriots, just doesn't seem to fit the mood. The weak link in a string of great albums. I was never sold on this title, and that remains the case on this revisit. Off you go.

Sezione Frenante - Metafora di un Viaggio. 2014 Ma.Ra.Cash (CD). Collection revisit (Dec). Sezione Frenante are one of a handful of groups who performed live in the 70s before disbanding without any recorded output, only to reform in modern times and release one album or more. The returns are mixed on these bands, some having adapted better than others. Sezione Frenante sits in the middle of these type of groups. On the one hand they do have those impressive breaks that makes the genre so special. And it's prog rock all the way, no silly attempts at pop stardom. On the other, there's this nagging feeling they relied too heavily on modern instrumentation and production techniques. One starts to wonder "what could have been?" in their initial incarnation. As I immerse myself deeper into the contents, I hear a strain of neo prog that I hadn't noticed before. Which isn't necessarily a bad thing in my world. Fortunately they maintain the Italian language (and sung very well by newcomer Francesco Nardo) keeping it out of the Genesis clone discussion. Gosh, if I already didn't own shelves full of this kind of prog from Italy already, I'd keep this. But downsizing is in full force, and this one never resonated with me at any level except academically.

*Touch. 1993 Renaissance (CD) (1969). Collection revisit (Nov). Depending on one's perspective, Portland, Oregon based Touch is a very inventive late psychedelic era release - or it was at the vanguard of the progressive rock movement, something that never really took off in the USA, but was starting to roll in England.  Like many bands from the late 60s, Touch tried their hand at various styles hoping something would stick. It isn't until track 4 that the highly experimental progressive side of the band emerges from the closet. The album closes with its most impactful and influential 12 minute opus 'Seventy Five'. According to history, both Jimi Hendrix and Mick Jagger showed up in person and were fascinated by what Touch were accomplishing in the studio. Surprisingly, even to this day, the LP isn't rare or expensive. It sold a lot of copy initially, and yet didn't have much impact on the American underground. Europe, on the other hand, was more intrigued. This CD is excellent, complete with historical liner notes and two relevant bonus tracks. Given its stellar reputation, the album has remained in print on both CD and LP formats, and later CDs add even more bonus tracks. As an aside, I found a Don & The Goodtimes 45 in recent years, and wasn't aware they were pre-Touch.

Hopo - Senti. 1992 Anthology (1982) (CD). Collection revisit (Nov). As noted on the Mo.Do. post, the amount of progressive rock albums coming from Italy were almost non existent from 1978 to 1986. Senti is one of the rare albums to get out, and you can tell there was no "movement" left in Italy for a group such as this to build and learn upon. The album opens with a synth pop number, pretty good for the style, but irrelevant to rest of the album. Otherwise it's classic Genesis styled prog with plenty of homestyle cookin' like PFM and the rest of them. Overall it's fairly simple and amateurish. One of those their heart was in the right place, but they weren't quite ready for prime time. The longest songs (2 and 6) are also the most interesting. Bonus tracks are essentially a live concert of the same music save one track called 'Mister Rock' which is about all you need to know there. No variations on a theme, and the recording isn't great to begin with. Overall a fine work, especially for its time in history, but Italy has so much more to offer.

Great Wide Nothing - The View From Olympus. 2019 (bandcamp) (Nov). Finally getting back to adding new bands to Under the Radar. Great Wide Nothing are from Atlanta and clearly embrace progressive rock at its early 70s UK major group peak. Classic Yes and Genesis seem to be front and center and the vocals have that distinctive Fish neo prog edge to them. I like the woody bass sound, something that should be required for any up and coming prog group. Piano, organ, and analog synthesizers are also part of the recipe. And some fake mellotron. This is one of those oxymoronic retro / neo prog type acts. The standard bearer for such a phenomena would be Cliffhanger, that most wonderful Dutch band that largely went unnoticed. Good start here! Will check out their other albums eventually.

Pocket Size Sthlm - Immortality: Cleaning the Mirror Volume 2. 2018 Mill Hill (LP). Collection revisit (Nov). Pocket Size is a band that I got in on the ground floor with and dutifully documented their first two albums enthusiastically. A year after the release of this album, their 3rd, Peter Pedersen reached out to me direct to see if I was interested in purchasing the LP's since he was going to be in the USA. I said sure, and I ended up grabbing all three. The CDs of the first two are just small slip cases, so I included them with the LP's of the others. He was also going to send me the CD of this title, but he forgot I think. No big deal. In any case, my initial reaction to this album wasn't as positive as the other two, and I didn't take any notes. So now some five plus years later, let's dive in. The album was recorded live in 2016 in front of what sounds like four people. As with their other albums, this isn't a solo endeavor but rather a full band effort. An early 70s instrumental prog mixed some space rock jamming is what you can expect here. There's a touch of the jazz rock style as well. I think this may have been one too many cleaning the mirrors for me. Not getting the same vibe as I did out of the other two. Also not very Swedish, more generic in terms of region. A fine album, but I have enough of this kind of style from the 70s.

*Quantum Fantay - Oneironauts. 2024 Progressive Promotion (CD). I keep saying I'm not going buy new albums in styles I already have well covered in the collection, especially by bands that I own eight albums from already. But I was in the right mood, and Quantum Fantay were one of the highlights of the last decade, so why not order one more on last call. Besides it's been five years since their last album, telling me they might be more energized and creative this go round. Interestingly enough they open the album just as they did on their last Yemaya Orisha, where I stated: "The opening title track could be considered "typical" (but still very good)". What I mean by typical is their patented Ozric Tentacles interpretation of space rock. Though unlike the prior album, they didn't open the flood gates on the second track. At times I felt the music to be too formulaic. But as the music kept spinning, my head continued to bob and I found myself getting immersed into their fiery brand of space rock. The title track even borrowed a couple of riffs from the almighty Bridges of Kukuriku. Quantum Fantay are to be credited for keeping their compositions from wandering off into the weeds, and always keeping an eye on melody. The elaborate ornamentation of sequencer based electronics and synthesizers space gazing add the proper atmosphere. Rhymically, Quantum Fantay often move beyond 4/4, and get complex at times. Such a great band really. Will this be the last album I buy from Quantum Fantay? I say yes. But that's what I said last time. (Nov)

*Bo Hansson - Music Inspired By Watership Down. 1977 Sire (LP). Picked up for $5 at a record store in Albuquerque (Nov). This is one of those albums I'd heard back in college in the middle 80s, liked it, but never bought a copy for myself. I could say that about all of Hansson's catalog actually, only picking up Magician's Hat recently. Hansson's style of highly melodic organ based instrumental progressive rock has really aged well for me. Classic Mike Oldfield seems to be more of an influence than prior, especially considering the electric guitar presence, and that can only add points to the score. The guitar, incidentally, is provided by none other than Kebnekaise legend Kenny Hakansson. The album was released in Sweden as El-Ahrairah. 

MediaBanda - Dinero y Terminacion Nerviosa. 2007 private (2xCD). Collection revisit (Nov). MediaBanda's second effort (post Fulano) is an overwhelming 90 minute work filled to the brim with ideas. One has to admire the sheer will to produce such an opus. The music ostensibly belongs to the avant-prog genre with its quirky and densely written charts. High pitched female vocals, often wordless, point to the Cos / Northettes school of Canterbury. The music is mostly of a happy nature, and there's clearly a tilting towards jazz here (especially on 1.6), smoothing the clinical edges that avant-prog usually brings. With so much time at their disposal, MediaBanda gave into the temptation to experiment recklessly in the studio, providing plenty of uncomfortable listening moments (1.4, 2.6, parts of 1.6 and 2.1). Seems to be a typical reaction by avant-prog bands that sense they may be too uptight, and so they go too far the other way and completely relax any kind of musical standard. Better off just doing a heavy psych jam really. The only real curveball here is the final track which starts out in Eddie Van Halen mode before launching into a complex hard blues rock number, sounding more like Present than Miriodor. Overall, as I've mentioned many times prior, admiration is not the same thing as appreciation. I know academically this is a well crafted effort. Doesn't mean I necessarily want to hear it though.

*Artsruni - Cruzaid. 2002 Musea (CD). Collection revisit (Oct). Right from the first few notes I was reminded of Asia Minor, a band with roots from nearby Turkey (historically speaking, probably not a welcome comparison, but if music is the language of peace, perhaps it is). Flute and guitar lead the instrumental parade, with the former providing most of the melodies. Artsruni is the last name of the guitarist, and his style pulls away from the 70s and brings in a modern sound, including pig squeals. Perhaps to its detriment. Other guideposts here would be Solaris and, of course, Camel. Fascinating booklet that details the rise of Armenia and its ties to the Crusades and Christianity. Mostly lost, no doubt, to the pagan West audience the CD was sold to. Unfortunate.

*Anacrusa - Fuerza. Rayuela (CD) (1979). Collection revisit (Oct). An unusual conclusion from this fine Argentine band. They started their career primarily as an indigenous folk troupe and eventually emigrated to France. While there, they added more rock elements to their recipe, giving them a progressive rock and world fusion flair. Fuerza takes this concept even further and adds orchestral touches. Given their highly melodic structure to begin with, along with Spanish female vocals, the album sounds more like something Burt Bacharach or Sergio Mendes might come up with. But with odd bursts of psychedelic guitar, making the music that much more intriguing. In reflection, there really isn't a comparison for Fuerza. This uniqueness makes it a collection mainstay. I did originally own the Argentina LP of this but sold it off many years ago when the CD came out. This CD is sketchy at best, but suffices for what I need from the album at this late stage.

New Triumvirat - Pompeii. 1977 Capitol (LP). From the Rocky Mountain record show for one dollar (Oct). I remember being offered this for a couple of bucks back in college in the 80s, but instincts told me to avoid. Now it's depreciated half from that large sum, and so why not try it? And my instincts proved correct - again. The first side seems like a rewrite of ELP's Trilogy with emphasis on the lesser ideas from that album. Side 2 is better and has a couple of compositions mixing in fusion to its advantage. But they are fleeting. Then there's the awful balladry, not even close to playing to their strength. I guess I'd still say it's a good album, but I don't see any reason to go past the first triumvirate of Triumvirat albums.

Jethro Tull - Songs from the Wood. 1977 Chrysalis (LP). From the Stanley record show in Denver (Oct). Still catching up on Tull albums I missed in my past. This album has a very strong reputation, and in fact RYM rates it higher than any Tull album except Thick as a Brick and Aqualung. According to the current ratings, it's only a hair better than Stand Up and Minstrel in the Gallery. I just don't hear it. To me this is very much a folk rock album with scant evidence of the prior Tull sound. It starts out fine, but there are many stretches of pure folk rock. Which by itself doesn't mean it's not of a high quality, but it certainly moves away from my interest area.

David Cross - Testing to Destruction. 1994 Red Hot (CD). Collection revisit (Oct). This CD was one of those recommendations from Audion back in the day and I probably picked it up via their Ultima Thule mail order channel as well. Every few years it floats its way to the bottom of the stack, and I hear just enough each time to keep it. Never took any notes for no good reason other than my usual laziness. Now we're eight years on from that last save listen, let's see if things improve. Cross is an interesting character in that he's most known for his violin work with King Crimson in the early to mid 1970s. Then he mostly disappears and doesn't get his solo career going until he's in his mid 40s. One that continues to this day, even though he's about 76 years old. So for a guy who was in his middle age, Testing to Destruction showed he still had a lot of energy to burn. This isn't some low key instrumental album nor is it a pathetic play for a long forgotten radio style. It's an aggressive form of jazz fusion, not too far from those groups Michael Shrieve was playing with in the 90s, especially his collaborations with Shawn Lane. Djam Karet would be another reference. There are odd vocals here and there, only to confuse things it seems. For the era in which it was released, getting anything like this from a former "Big UK prog band" member was something to celebrate. But a clean sober listen reveals not that many great ideas, and lots of experimentation looking for a trademark sound. One he could not find here. Sure it's very good, but it's not next level. Time's up for Testing to Destruction at Casa UMR. Almost made it 30 years here though.

Attila Kollar - Musical Witchcraft. 1998 Periferic (CD). Collection revisit (Oct). As noted on UMR prior, I find Solaris one of the greatest of the 80s and early 90s progressive rock bands. And it was only last year that I revisited Musical Witchcraft II which enjoyed a +1 listen. So going into my revisit session with his solo debut, I figured this would be a perfunctory listen and up the rankings the album would go. But that wasn't the case. Much more sterile than his follow-up, and one can notice some of the pitfalls of Nostradamus showing up here as well (both were released near the same time). The compositions don't possess the usual magic (so to speak) that Kollar usually brings. Given that his second album was much more accomplished it appears he recognized the flaws here as well.

* - Keeping for the collection

Daily Journal Posts are now Complete

---2/5/25 2023 is now complete and so is this project. I'm caught up to the present day and 2025 journals are being built real time. 202...