2025 Fusion / Jazz Journal Vol. 3

*Jukka Linkola Octet - Jazz Liisa 06. 2016 Svart (CD) (1977). I own this since it's attached to the Jupu Group - Jazz Liisa 05 album. However, I didn't consider it for the primary collection. I also didn't pen any notes from my initial listen in 2016. Time to hear again to see if my opinion has been altered. I've also heard Banana as part of my CDRWL project many years ago, but again, not too much recollection beyond my scribblings. As I immerse myself into the recording, it occurs to me this would fit perfectly into my current "jazz classics" project (see below). Not fusion or rock in the slightest, excepting maybe the last track, which has Maynard Ferguson overtones. Makes for fine, if unrelated, bonus tracks to the Jupu Group album (beyond Linkola's involvement on the former). I wouldn't pursue on its own though. (12/28)

*Hozan Yamamoto - Silver World. 1979 Philips (LP) (1971). Here's one I've been sitting on since late spring, having found it for 69 cents. After a quick scan, I knew it was something I wanted to hear. I just needed the right moment, since I knew it would be a peaceful and tranquil jazz. After a hectic day of digging, I needed to chill out. Ah finally, how about listening to Silver World and wind down that way? Yamamoto plays a shakuhachi (a type of bamboo flute), and he's backed by a trio on piano, bass, and drums. In this context, Yamamoto comes across as a Japanese Lloyd McNeill. A deep spiritual feeling permeates throughout. It's more serene than McNeill but the atmosphere is similar. The B side is a bit more energetic. Pianist Masabumi Kikuchi composed five of the six songs with the other from Charlie Mariano. I haven't kept too many Japanese not-fusion jazz albums in the past, but I think I'll hold onto this one. (12/7)

Frank Zappa - Zoot Allures. 1976 Warner Bros. (LP). Let's start off Jazz Journal Vol. 3 with yet another mixed bag effort from Zappa. Opener 'Wind Up Workin' In a Gas Station' is pretty much what you can expect from the silly side of the man. Has a nice hard rock riff though. Then of course he follows that up with an amped up bluesy fusion track that's great. A3 is the longest song. A dirgey blues number, mostly annoying with the moans and groans, but features some fine guitar soloing (of course). And so it goes. Other guitar fronted instrumental highlights include B2 and the atmospheric title track. (12/2)

---

The following are jazz classics from the 50s, 60s, and 70s that I've been finding around town for $1 or less. Not necessarily in my interest wheelhouse, but they make for fine late evening listens. I'm not rating or reviewing these anywhere, since it doesn't seem the right thing to do. I'm keeping these for now, though probably not permanent. Any titles that capture my imagination will be rated and elevated to the primary collection. This is an ongoing project.

*Bill Evans - Interplay. 1987 OJC (CD)
*Sonny Rollins - Saxophone Colossus. 1987 OJC (CD)

*The Dave Brubeck Quartet - Time Out. 1997 Columbia Legacy (CD)

*Bobby Hutcherson - Happenings. 2006 Blue Note (CD)

*McCoy Tyner - Song For My Lady. OJC (CD) 90s pressing.

Ornette Coleman - Tomorrow is the Question (CD)

*Dexter Gordon - Go (CD) Blue Note

* - Keeping for the collection

2025 Metal Journal Vol. 3

*Christian Mistress - Possession. 2015 Relapse (LP) (2012). Christian Mistress was recommended to me by a like minded friend when it comes to heavy metal. That of the early days, where melody, harmony, and odd structural design was more the norm than the exception. I had some trade credit so I grabbed a couple of LPs by the band. They hail from the capital of Washington state, and their vocalist is female, recalling the days of Ann Boleyn and Betsy Bitch. Her singing approach is old school hard rock, nothing odd or twisty to favor attention. The metal tones are straight out of the 1982 cassette culture, bordering hard rock, and the twin soloing is a cut above. Even the multiple black and white photos of the band point to an earlier era, that of silly rebellion. It's been a long while since I last heard my Corsair CDs, but I'm thinking there's some parallels here. The metal heads that run What's Left tell me "yea, they're pretty cheesy". So I guess that's where I land these days on the metal scale: Cheesy. Haha, oh well, I did inform them about the new Coroner, so maybe my street cred isn't completely shot. Yet. (12/6)

*Black Flag - My War. 1984 SST (LP). Found this at one of those clueless chains that sells used records for random prices, usually on the high side. In this case it's apparent they thought it was a lower grade reissue, and priced it at $10. Nope. 100% original press. I knew it the minute I saw it. Mine now. :-) I have very little experience with Black Flag, having obtained a couple of their reissue LPs (ironically) over six years ago at an estate sale. I didn't really give them that much of a shot, and moved them out for a tidy profit. But I still remember reading in Metal Forces in the 1980's that Black Flag were different from your garden variety punk band. Punk is not usually my style of choice. This title in particular sounded like something I might enjoy. Yea, this one is very different for sure. It's two different sides, one high energy punk influenced, the other a slow driving metal sound. Similar to Saint Vitus in that way, though it's not Sabbath like really. The first side is also very entertaining and the musicianship is far more interesting than the punk label allows for, especially Greg Ginn's guitar work. While listening to this, I researched the band and learned quite a bit about them. Their inconsistency is what sunk them initially (among other issues like constantly evolving band mates), though that's part of their legacy today. My War is way too interesting to let go, and I'm sure I'll appreciate it more as time goes on. Plus the origin story of my acquisition is priceless. I'll probably put together a page at some point once I gather some more of their albums for a more proper perspective. (12/3)

* - keeping for the collection

2025 Folk / Country Journal

Los Dandy's - Lindo Amorcito. 2016 Pharaway (LP) (1985). Like with Big Lost Rainbow, another surprising 69 cent find at the thrift shop. I've always appreciated Guerssen's commitment to rarities, but this one may have been a bridge too far for most collectors. It's essentially Cumbia music from Peru, just as the back cover suggests. There's lightly strummed electric guitar throughout, and what sounds like video game synthesizers. Primitive and perhaps therein lies its charm. It's a reissue of a very rare 1985 album, one that has yet to surface on Discogs. (12/2)

Big Lost Rainbow. 1999 Akarma (LP) (1973). Looks like it's been 10 months since my last folk entry. Yea, not in my wheelhouse for sure. I usually go through these titles quickly and just push them to the show boxes. Only so much time. But here was a surprise. Not an every day thrift shop find (69 cents!), and on Akarma no less. I'd never heard of this album prior, so guessing the original reissue descriptions didn't lure me in. Originals command a decent price, though nothing extraordinary. From the Cape Cod area of Massachusetts, Big Lost Rainbow is one of those more-rare-than-good albums. At least from my purview. Though I'm sure I would have been elated to find an original. It's mostly low key folk, with piano, cello, flute, acoustic guitar, and a lot of vocals. The latter have a bit of Crosby Stills and Nash in them. No Neil Young fortunately. There seems to be a post mortem hippy vibe, perhaps still a viable way to make a living at the local New England pubs. Lengthy closing piece trends towards the jazz lounge scene. A whole album of that would have been better received, I think. Nice curio piece, though likely to be forgotten in the annals of history. (11/21)

Neil Young - Time Fades Away. 1973 Reprise (LP). Here we go again with Neil Young. This is another one of his high rated albums that leaves me more puzzled than ever. I'd be more sympathetic if the high ratings came only from Country fans. Lots of apologists out there stating it was a live album with all new material and there's two really great tracks that should have been in the studio. All lost on me though. Out of tune vocals and unmemorable songs. Something tells me his albums are going to be ignored in history. But so far, he's remained popular far more than most of his generation. (1/18)

2025 Revisits of prior UMR entries Vol. 6

Next round...

Malady (2015)

Jupu Group - Jazz Liisa 05

Holding Pattern - Majestic

Public Foot the Roman

Wobbler - Dwellers of the Deep

The Sergio Mendes Trio - Brasil '65

Agusa - Katarsis

Astrud Gilberto - Now

Gabor Szabo - Macho

Eat Static ~ England

Abduction (1993)

Well look at this, Abduction was randomly selected much sooner than I expected. As noted on Implant, this title is the last to be evaluated for permanence in the collection (as much as any album can claim such). Let's see how it goes, after being pleasantly surprised by the more recently acquired De-Classified.

This title used to be a treadmill regular before I took up trail running in 2009 (which I have yet to relinquish to this day - every day). So for three years I'd sweat profusely to this album many times. 

There's a distinct sound of India in the vocals, sampled percussion, and scales used here. Which made me think of Goa Trance. Some very interesting dissertations out there describing how Psychedelic Trance became the inheritor of the term. Others maintain it to be separate. It is really fascinating how many subgenres there are to the broader EDM. I do appreciate the effort to distinguish even if many feel that genres have become too scientific.

For me, I don't really have too much of this kind of sound, and if I do, they are more in the organic space rock realm. Not so much synthetic. As I listened through the CD, I tried to remember my "treadmill sequence". I'm not entirely sure of this, but I believe it was between tracks 3 and 6, which is about the right length for the workout.

So do I keep this? It's a serviceable album, easy to listen to, though not entirely engaging. Given its current low value, I'll keep it around. But its day is coming soon. I definitely enjoyed the newer title to this.

 

Ownership: 1995 Attic (CD)

3//06 (acquired); 12/29/25
 

De-Classified (2007)

You can see my history with Eat Static in the Epsylon review, and by the time I revisited Implant, I figured I had all I need here from the duo going forward. I honestly had no idea Eat Static went much past 2001, but it's obvious that is not the case. I found this mint CD in the 69 cent bin a few months back, and there's no way I was going to let it sit there untouched at that price. Let's see what we have here. 

As I put the CD in the changer, we're back to the usual radio and TV samples from the space age past, obsessing over UFO's. Then comes the boom boom boom, and weeeeeeee, let's dance. As I allowed the music to continue on, I noticed the energy level on this thing is off the charts. I mean it's relentless. I really had no intention of keeping De-Classified, but it's infectious. Maybe it's because I rarely listen to music like this anymore, so it's refreshing. Ozric head honcho Ed Wynne guests on two of the tracks (not on guitar unfortunately).

Ownership: 2007 Solstice (CD). Six panel poster booklet with nice artwork and recording details.

10/8/25 (acquired / review)

Implant (1994) 

There was a brief time I got into these interesting techno styled albums. Eat Static was sort of a gateway drug for many of us psych heads, since they were a side project of none other than Ozric Tentacles. Though most assuredly geared towards the dance crowd, the compositions do move along in progressive rock fashion: Changing themes and tempos often to make for interesting listening sessions. The question I ask myself is how many of these do I need? I didn't load up too much, and have ditched a couple of Eat Static's already. I started with Epsylon (see below), and also own the 2xCD debut, Abduction, and this title. The first two are baked in, and I have a higher rating on Abduction (which will get its day in court soon enough). Yea, this is one too many.

Former ownership: 1995 Planet Dog (CD)

3//06 (acquired); 11/7/24 (review)
 

Epsylon / Lost in Time (1993 / 1995)

Back in the early 90s, I was quite the Ozric Tentacles fanatic. It seemed they could do no wrong. When I first heard about Eat Static, I was intrigued, but given they were described more or less as a "techno" band, I steered clear. Money wasn't plentiful and needed to be allocated carefully. In 1997, a fellow collector sold to me a good number of his CDs for pennies on the dollar. Among them included Epsylon, this version being the 1995 Mammoth release that also included their 1993 EP Lost in Time.

Also in 1997, I got hitched. Me being the wise old veteran at 32, she a wide-eyed 23. Of course we dated for over a year, but there's still so much to learn about each other as all married couples understand. On one particularly memorable road trip, I pushed Epsylon into the CD player and off we went. Oh, and about 15 minutes later, my beautiful young bride (still is beautiful, turns out) is having the time of her life. Dancing in the chair, banging her head, woo-hooing. Well then, I said to myself - I should stock up on more of this kind of music! Odd, she didn't act that way when I played Guru Guru's UFO. Hmm.

The interesting thing about Eat Static is there's no mistaking their Ozric roots. Take away the analog instrumentation and add synthetic beats, and you have Eat Static. The music isn't dull even for sit down listening. It twists and turns regularly. For my tastes music like this has a natural ceiling of about a 3.5 stars with a couple of outliers. Epsylon / Lost in Time hits up against that. If for whatever reason you haven't heard much music like this, then Epsylon is as good a place to start as any. Note above story.

As for today, some 22 years later, does said wife have much interest in Eat Static? Oh hell no. However all of our nieces and nephews are very much into what is more broadly known as EDM. They're dancing their brains out. Good for them. Still no takers for Guru Guru.

Ownership: 1995 Mammoth (CD). This version includes both Epsylon and Lost in Time. 

1997 (acquired); 12//04; 2/22/19 (review)

Also own and need to review Prepare Your Spirit

Also once owned: Science of the Gods; Crash and Burn

2/22/19 (new entry)

Lenny White ~ USA

Venusian Summer (1975)

Venusian Summer is one of those fusion albums that fell through the cracks as I was motoring through multiple titles over a decade ago. Since new copies of the CD are going for the same price as a pack of bubblegum, I thought I'd reengage.

This is Lenny White's first solo album, and he must have called in all his markers, as you'd be hard pressed to find such a list of fusion all-stars on one album. All but his comrades in Return to Forever are here, except Al Di Meola who rips on the final track trading insane licks with none other than Larry Coryell. The music isn't straight fusion, but rather has a strong funk bent. As well as prog rock, as heard on the title track. 'Mating Drive' is a burner, one of the heaviest fusion pieces you'll ever hear. Larry Young is a beast on the organ, while Doug Rauch and White goes nuts on the rhythm. Meanwhile Ray Gomez absolutely sheds on the guitar. Mid 70s jazz fusion at its best.

Ownership: 1999 Wounded Bird (CD)

8/11/07; 4/2/14; 12/29/25 (CD acquired / review)
 

The Adventures of Astral Pirates (1978)

One presumes Lenny White was hitting the wacky weed pretty hard during this era, if we are to absorb the concept, cartoons, and story line of The Adventures of Astral Pirates. Well, no matter, as White has turned in a powerful, mostly instrumental, jazz fusion album not that far removed from his other gig with Return to Forever. So Chick Corea was into Medieval knights and White was into alien pirates from antiquity. Like I said, could have been the bud.

What makes The Adventures of Astral Pirates such a great album is the solid compositions, strong melodies, some indigenous global sounds, and - to be expected - expert musicianship. It would be easy to laugh off a work such as this, but doing so would be at your loss. And what I respect most about White's album, is that he doesn't feel the need to remind you that he's a monster drummer. Other than a small bit on 'Assault', this is truly ensemble material. A good one that I feel is often times overlooked.

Ownership: 1978 Elektra (LP). Gatefold. Complete with outrageous story and artwork.

2008 (LP acquired); 6/3/14; 7/10/18 (review)

7/10/18 (new entry)

Funkadelic / Parliament (& related) ~ USA ~ New Jersey ~ Detroit, Michigan

Eddie Hazel - Game, Dames and Guitar Thangs (1977) + Jams From The Heart (EP) (1975 / 1994)

---Nov 2004

Eddie Hazel's sole album is absolutely essential for fans of Hendrix fueled funk. As close as we’ll ever get to knowing what it would be like if Hendrix were to go the funk route outside of classic Funkadelic of course.

The bonus tracks are from the posthumous Jams From the Heart EP recorded in 1975, and not released until 1994. The music is just as stated - long overloaded guitar jams. Good stuff, if not overly focused, more boogie oriented on the first long jam, more blues based on the other. There are two shorter pieces as well including my fave ‘Unkut Funk’.

---12/29/25

And that was my last listen long before the advent of UMR. Since that time, my interest in funk has gone considerably up. Especially from the 45 scene, where there are many more examples of psychedelic funk. 45s are a good format for the style as they usually get right to business and don't piddle around to fill the LP length. Eddie Hazel's album is like one big string of psych funk 45s. The covers are so rearranged and distorted you'll be hard pressed to name the original. That's a plus. As indicated in my original review, essential for the style. 

Though Jams from the Heart is technically an EP, it isn't much shorter than the Game LP. These recordings weren't ever meant for commercial release, so we basically get to hear Hazel jam in the studio. Sounds like a great idea to me.

Ownership: 2004 Rhino Handmade (CD). Four bonus tracks. Numbered edition (mine is #3233).

11//04 (acquired / review); 12/29/25 (update)

Standing on the Verge of Getting It On (1974)

Funkadelic's 6th album brings back Eddie Hazel on guitar after a two album break. If you didn't know any better, one could be forgiven in thinking this was a hard rock album. Or at least heavy psych in the Hendrix tradition. It's hard hitting rock that eventually does demonstrate their funk roots in the middle of the album. The final track 'Good Thoughts, Bad Thoughts' proves that Funkadelic still had reverence for the last part of their name. Considered by many to be their finest album, it certainly gives Maggot Brain a run for its money. The latter possessing stronger material but is less consistent. 

Lyrically this album is Standing on the Verge of Getting Can-Celled. In our current bizarre culture, even a clinically crazy group like Funkadelic is finding themselves under the lens. The opening silly dialogue and tracks like 'Jimmy's Got a Little Bitch In Him' are already under scrutiny by those that feel they are insensitive and do not pass their "purity test". At the current rate, this album will be banned in 10 years. No wonder everyone is running out to get their copy. America Eats Its Young indeed. Who said that anyway? Oh yea, I know.

To this day I haven't heard the two albums that precede this, something I'm sure will be rectified eventually.

Ownership: 1974 Westbound (LP). Gatefold.

3/15/05 (CD acquired); 8/25/22 (LP acquired / review)

Funkadelic (1970) 

In recent years, funk has become one of my favorite styles. So I was very much looking forward to revisiting this title in the collection. It's an interesting debut - not particularly funky at all. It does have psychedelic aspects, mostly found in the production and with Eddie Hazel's guitar. The latter is not near as focused or as intense as their 3rd album Maggot Brain. A lot of loose jamming can be heard here - many compare to Jimi Hendrix's albums from the same era, but I would suggest this is more laid back than that might imply. One of those albums I'm sure I'd appreciate more as an original LP, but those are extremely hard to find at any kind of a reasonable price. For now I can let the CD fly. 

Former ownership: 2000 Westbound (CD) 

2003 (CD acquired); 6/20/22 (review) 

Parliament - Mothership Connection (1975) 

So... what would be the opposite of Fleetwood Mac? Rhetorical question. Whatever traces of seriousness George Clinton had left for Funkadelic are now completely wiped out on the resuscitated Parliament project (once a doo-wop group going back to the 1950s called The Parliaments, when Clinton was still a young teen). This album has one purpose - to Par-Tay. It's funked up, prosifunkstication, and thumpasorus. P-Funk is its own genre for a reason. It's pure funk too, so no psychedelic guitar frenzies or progressive rock charting to get in the way of the dance floor. And a heck of a lot of fun.

Ownership: 1976 Casablanca (LP). New label design.

12/22/20 (acquired / review)

 

Maggot Brain (1971)

Maggot Brain is the 3rd album from Funkadelic, and is often cited as their masterpiece. No argument from me, though it is quite a departure from their ordinary sound. The title track has to be the darnedest opening to a funk rock album that has ever been. Sounding like a cosmic Krautrock piece, Eddie Hazel conjures up My Solid Ground on 'Dirty Yellow Mist' playing the music of Dom's Edge of Time. I will never tire of music such as this. Can you imagine if Eddie Hazel was the guitarist for Del Jones? Well then, there would be no point in owning any other albums.

I'm not particularly fond of the more traditional soul funk tracks here such as 'Can You Get to That' or 'Back in Our Minds'. The hard hitting psychedelic funk of 'Hit It and Quit It' and 'Super Stupid' are Funkadelic at their energetic best. And 'Wars of Armageddon' closes in great fashion with more heavy guitar and some experimental collage work. Yep, I'm standing in line for this one. 

Ownership: Westbound UK (CD). 90's pressing.

1998 (acquired); 2/7/15; 12/20/19 (review)

12/20/19 (new entry)

Popol Vuh ~ Germany

Das Hohelied Salomos (1975)

Here's another case of an album that shows I haven't heard it since the late 80s, but I know that's not correct. Yet it's probably true that I haven't heard it in over 20 years. Let's see how this revisit goes.

Das Hohelied Salomos is Popol Vuh's second "rock" based album, released after Einsjager. Starting off with pronounced percussion and the soprano vocals of Djong Yun, it's clear the direction set on Einsjager would continue, but even heavier. As I listen to this, I also hear a similar guitar style to Manuel Gottsching on the Starring Rosi album. Whether there was a conscious attempt by both him and Fichelscher to try for a "American West Coast" sound, or they arrived at a similar conclusion to elevate their recent compositions. I'm reading some interesting reviews claiming this is a weak link between Einsjager and Letzte Tage. I'm not going to agree with that assertion. I feel they all maintain a high standard.

Ownership: 1975 United Artists (LP). Rough paper cover.

1989 (acquired); 12/29/25 (review)
 

Seligpreisung (1974)

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.

Former ownership: 1983 Pop Import (LP); 2004 SPV (CD)

1989 (LP acquired); 6//05 (CD acquired); 12/15/24 (review)

Hosianna Mantra (1972)

---March 2005

Most know the story here as Fricke sold off his electronic equipment and went all acoustic (save some electric guitar). Piano, guitar, chanted vocals, and Indian stringed instruments are the focus. Gets a bit trippy towards the end. Must’ve been quite a shock to those who bought In Den Garten Pharaos just prior. Serene and beautiful.

---1/31/24 update

And that was my most recent listen until last night. Quite an about face for Florian Fricke. One could argue this is the beginning of New Age music. RYM has it as the second in chronology for "Neoclassical New Age". A very tranquil and peaceful album. They were to introduce far more percussion after this giving it more of a rock band feel, though they pretty much were "their own thing" back in the 70s.

Ownership: 1974 PDU (LP). Gatefold.

1989 (acquired); 3//05 (review); 1/30/24 (update)

Aguirre (1976)

An interesting album from Florian Fricke and company. Combines their recent foray into new age styled rock with guitar, percussion, and female wordless vocals - with their electronic oriented past. Somewhere between Das Hohelied Salomos (side 1) and Affenstunde (side 2). It's been suggested that this recording is a compilation of sorts, given that Fricke no longer owned his big Moog at this point. Maybe Schulze let him borrow it. All the same, most of this was unreleased prior, with some reworkings of earlier material.

The CD contains one bonus track that is essential. I've read that the long piece is slightly different here than on the LP. I listened to both, but you really have to pay attention I think. I didn't notice it. 

Ownership: 
1976 PDU (LP)
2004 SPV (CD). Digipak. Comes with the all-purpose Florian Fricke booklet, though mine has three different pages than the one shown on Discogs. Wondering if the submitter had the wrong one, or if the label "mixed and matched" the booklets with their other Popol Vuh releases at the time. 

1990 (LP acquired); 1996; 6//05 (CD acquired); 7/10/23 (review)

Einsjäger & Siebenjäger (1974)

After a few albums of pure electronic music followed by tranquil acoustic forms, Popol Vuh changed directions again and decided to add a rock component mostly missing prior to this. It's just as much about former Amon Duul II (and Sameti) guitarist and drummer Daniel Fichelscher as it is about Florian Fricke at this point. Einsjager & Siebenjager is made up of long spacious and rambling instrumental pieces that feature electric guitar, piano, crashing drums, with sparse wordless female voice and flute. That voice belongs to Djong Yun, who would become more prominent on their next couple of albums. Popol Vuh have discovered a unique sound here, one that solely belongs to them, even to this day. Genre tags are difficult, and this is where the all encompassing Krautrock name comes in handy. It's proto new age, but no one would recognize the sound at such an early stage.

Love the striking day-glo yellow and orange cover, and the Pop Import version I have way high on my Wall of Albums. There's some debate on Discogs about the original pressings. The date stamper of the PDU version is mid December 1974. So it would be highly unlikely for it to be issued in 1974, but rather 1975. However the copyright date of 1974 is clear. The German original is dated 1975. It has been suggested that yes, the Italian version is in fact the original release in this case.

Ownership: 

1974 PDU (LP)

1982 Pop Import (LP)

1987 (Pop Import LP acquired); 1/20/22 (PDU LP acquired / review)

Letzte Tage, Letzte Nächte (1976)

Letzte Tage, Letzte Nächte is Popol Vuh's 7th album, and represents a powerful statement for Florian Fricke and company. Fichelscher's guitar strums loudly, while he bashes away triumphantly on whatever percussion is laying around. Djong Yun and Renate Knaup chant along in their feminine, transcendent manner. Popol Vuh would never sound so heavy again, preferring the atmospheric soundtrack music that colors their future work. Perhaps their finest 30 minutes on record.

Ownership: 

1976 United Artists (LP)
2006 Arcangelo (CD). Papersleeve

1988 (LP acquired); 1997; 8/4/17 (CD acquired / review)

Sei Still, Wisse Ich Bin (1981)

As others have stated, this is a departure from the normal uplifting Popol Vuh fare. It's a heavy, serious religious effort, and I would submit perhaps the beginning of what is now known as "Ritual Ambient". RYM describes the genre as thus "Ritual Ambient is a subgenre of Dark Ambient that focuses on dark, deep, disturbing, ritualistic and occult atmosphere. It often features some chanting voices, tribal rhythms and appropriate samples." OK, there are no samples, but otherwise that genre description would work as a review for this album. Popol Vuh was a pioneer in many fields, not surprising to find another one. The latter half of Side 2 is more positive like their mid 70s albums, but the overall effect is dark and mysterious.

Ownership: 1992 Spalax (CD)

1989 (LP acquired); 1996 (CD acquired); 10/25/16 (review)

Other albums I own and need to review: Affenstunde; In Den Garten Pharaos

Other albums I once owned: Yoga; Herz Aus Glas; Nosferatu; Spirit of Peace

10/25/16 (new entry)

2025 Psychedelic / Garage Journal

The Sunrays - Andrea. 1995 Collectables (CD) (1966). The Beach Boys' abrasive old man Murry Wilson, fresh off getting booted as manager by his kids, decides he can put together any ol' group of musicians and rise to the top. Complete face plant, Andrea can only be viewed positively as a time capsule album. The Sunrays are like a mix of The Beach Boys, The Association, and The Four Tops. Misses the magic of Brian and the boys, and is imitation at its worst. CD offers apologist notes. Probably this will be the last 2025 Psych journal entry, so I'll just add here and move forward. (12/26)

*Spooky Tooth - It's All About. 1970 Island (LP) (1968). Spooky Tooth is another one of those bands that I've known about for most of my record collecting life but never actually heard. Found a nice pink Island copy up in Denver. It wasn't cheap but it was a really good deal, and it's hard to pass on these early UK pressings. I would describe the music as a type of psychedelic soul. From the latter comes the passionate crooning. From the former is the period sounds and instrumentation. Nothing really blew me away here, but I found it a pleasant listen throughout. Also I came to learn that one of the album's best tracks 'Too Much of Nothing' is only on these early pressings. It was swapped out with something apparently lame on the subsequent A&M releases. I've been told their second album is much better. I have it on cassette of all things, so I'll get to it eventually unless I find the LP first. At that point I might build out a page for them. (4/29)

*Howlin' Wolf - Message to the Young. 1977 Chess (LP) (1971). Here's an interesting album that I had no idea about. Chicago Blues legend Howlin' Wolf putting out a psychedelic album. It's for certain still his patented blues style, but no doubt he had Jimi Hendrix on the brain when he amped up. Not a lot of the old timers took these kind of chances, or had any desire to give credence to the young 'uns. Unique and I'm keeping it for now. Howlin' Wolf is not the type of artist I'd build an artist page for, as I'm not a huge blues fan. But if I found his early shellacs, I'd keep them anyway. I just found an old Muddy Waters shellac (1950 Aristocrat beautiful condition too) and decided to keep it. I don't have a way to play them, but I love the history. (4/9)

Grateful Dead - Without a Net. 1990 Arista (2xCD). This a placeholder as I intend to build out a Grateful Dead page eventually. I own two CDs and a raft full of archival material. All I've commented on so far is what I don't like haha. This title isn't so bad really. I know relatively nothing about the Grateful Dead compared to Deadheads, so you have to take my viewpoint as an outsider looking in. Apparently this was their last great tour and was captured on CD as a best-of compilation. It wouldn't be long after that the band released just about everything they recorded in 30 years, making these comps unnecessary except for casual fans looking for the Cliff Notes version. RYM currently shows 260 live releases. There are some nice jams here interspersed with their usual countryish blues and folk mix. Jug Band music. Obviously everything the group records would have been better experienced live and in person. (2/19)

*-Keeping for the collection

Metal Church ~ USA ~ Seattle, Washington

Blessing in Disguise (1989) 

---7/7/15

I bought this on LP when it came out, and 26 years later it just gets better and better. The songwriting is top notch, the riffs are sharp and memorable, the production is massive, and new singer Mike Howe's shrill and passionate vocals fit the music perfectly. There are plenty of progressions within each track, keeping the music exciting throughout. 'It's a Secret' recalls the killer instrumental 'Merciless Onslaught' from the debut. Overall, Blessing in Disguise sits comfortably in the middle ground between old school metal and late 80s thrash. Superb.

---12/22/25

For whatever reason I did not add that review to UMR, so it makes its debut here. It's interesting to note that this album isn't really progressive - or even all-out thrash - yet it has elements of both embedded that makes it a fascinating listen. It's a sophisticated album, but not overtly so. Metal Church found a niche in an overcrowded metal marketplace. I didn't mention it above, but if you're going to listen to one track here, make it 'Badlands'. At once beautiful and powerful. Incredible vocal performance by Howe. A true 5 star masterpiece. 

As I catch up on the band's history, it's sad to read that both of their iconic lead singers have passed away, along with their original drummer. On the positive front, they are still marching forward with ever changing lineups around founder Kurdt Vanderhoof, and plan on releasing their 14th album in 2026. As you can see at the bottom, I've barely heard a fraction of them. And only one recent title. 

Ownership: 

1989 Elektra (LP). Lyric insert.

1989 Elektra (CD). Tri-fold booklet with lyrics and photos.

1989 (LP acquired); 7/7/15 (review); 12/22/25 (update)

The Dark (1986)

For whatever reason, I could never buy this album back in the day. It was like a reverse magnet. I'd have it in my hands, and put it back. I loved the first album (still do), and when Blessing in Disguise came out, I jumped on it. This latter work remains one of my all-time favorite metal albums. But I still didn't get The Dark. I even had a CD of Human Factor at one point (long gone). So leave it to me to wait until it's expensive. That's the Genius Hans way! Ah well, on the same wall with Wrathchild America was a perfect copy of this (it was an incredible metal buy from these guys - all in shrink and most looked untouched). It was overpriced (like unfortunately most of the others, though the WA was fairly marked), but I can never find anything to use my trade credit on, so what the hell - still free for me essentially. 

I offer this prelude to give you perspective on how I approached my first listen. It was with high anticipation. Well... it appears my basic instincts were correct. Or I should state - sort of correct. It's a good album for sure - solid metal all the way. But it misses the X factor that the two albums that surround it have. Whether it be the lack of hooks, energy, or epics, this album isn't breaking any new ground for 1986. I do appreciate Dave Wayne's shrieky voice though. On the downside, the production is a bit "square wave" if you know what I mean. I'm sure I need more time with the album - as the other two I must have heard well over 50 times each (which is what we all did back then). But I wasn't compelled to hear The Dark twice in a row last night. Anyway, a keeper for sure. But disappointing.

Ownership: 1986 Elektra (LP). Lyric insert.

3/7/21 (acquired / review)

Also own and need to review: Metal Church (1984); XI

Once owned and need to revisit The Human Factor.

3/7/21 (new entry)

Jean-Luc Ponty ~ France ~ USA

Aurora (1976)

Unlike most of Ponty's classic fusion albums, I've never heard Aurora, one of his landmark works. Just one of those quirks of life I guess. It wasn't that long ago I featured an obscure fusion band from my original hometown of Dallas named Aurora, no doubt influenced by this album. In any case, as noted below, I recently acquired Cosmic Messenger on CD, and this album is included with it.

As usual, Ponty surrounds himself with top talent including the lovely Patrice Rushen on keyboards. Always-around-somewhere guitarist Daryl Stuermer provides some pretty mean licks. Ponty's heavily affected violin is smooth as glass. Overall not as intense as Cosmic Messenger, but there are plenty of fire moments here too, including the lengthy two part title track. The album closes with two mellow numbers leaving it with the overall impression it's a light album, but that's not really the case.

12/22/25 (review)

 

Cosmic Messenger (1978)

---8/2/21

I love the way that Ponty layers all the instruments, and there's some really fine rhythms, tying to my new favorite genre of jazz funk. Excellent solos as well, rarely showboaty, always measured.

---12/16/25

That was the journal entry from only a few years ago, and my second listen. Though I was certain to have heard this album in the 80s or 90s, I had no record - or recollection - of it. I consider the 2020 listen as my introduction, after acquiring it at an estate sale a few months prior. I unintentionally made it sound like a solo album, but it's a full band effort with four to six musicians performing on each track. Some great synthesizer and guitar work from the guests add a lot of color and energy to this fine work. Naturally his violin remains the feature. Ponty was a major force in the fusion field at this time, and his albums go toe to toe with the best of them. I find albums like this very easy to listen to, and provides a nice break from more complex efforts.

Ownership: 2022 Wounded Bird (CD). With Aurora. Booklet has recording details only.

1/5/20 (LP acquired); 8/2/21 (journal); 12/16/25 (CD acquired / review)

Individual Choice (1983)

Individual Choice is a very interesting album from Ponty, favoring the synthesizer over his trademark violin. In this way, he seems to be following Richard Pinhas' approach more than his own fusion based efforts. His sound choices are mostly monolithic while heavy on the sequencer. Though more positive in tone, one could make comparisons to Chronolyse, especially when there's bass and drums present. The melodies are well written and provide a nice contrast to the normally cold electronic genre. Always fun to hear future American Idol star Randy Jackson on the bass. He certainly earned his way to being a judge, as he was a very busy session player in the 80s. Only the finale 'In Spite Of All' demonstrates Ponty's fusion tendencies. I'd owned this album many years ago, but dismissed it as ordinary fusion. I missed the boat. Wrong genre and wrong mindset.

Ownership: 1983 Atlantic (LP)

1993 (first acquired); 4/18/23 (reacquired / review)

Also own and need to review: King Kong; With the George Duke Trio; Enigmatic Ocean

Once owned and need to revisit: & Stephane Grappelli; Imaginary Voyage; Civilized Evil; Mystical Adventures

4/18/23 (new entry)

Vangelis ~ Greece

Albedo 0.39 (1976)

Here's an album I've owned in one form or fashion for 35 years, but never got around to penning any notes for it. Vangelis had this habit of throwing out rock textures every once in awhile before being drawn back to softer electronic music. He was a natural leader in the new age movement of the 1980s, and achieved great success with Chariots of Fire. His music more famous than the movie. The opener here 'Pulstar' is one such creature, filled with heavy rhythms and electric guitar. Most of the longer songs are rock based, though still very much rooted in the electronic sphere. I'm not always keen on his synth textures however. Some of them I find grating. Other than the opener, the other highlight would be the two part 'Nucleogenesis' which mixes rock drums with synthesizers, including the use of sequencers. Much more classical symphonic than Klaus Schulze and Edgar Froese's experiments at that time.

Ownership: 1997 Windham Hill (CD). Alternate cover to fit the label's motif. Oddly this is the only US CD pressing of this album, including compilations.

1990 (LP acquired); 2/6/13 (CD acquired); 5/23/17; 12/22/25 (review)

L'Apocalypse des Animaux (1981) 

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 his group Aphrodite's Child, Vangelis was leading the pack in creativity in the early 70s. He settled into old age too fast. 

Source: 1981 Polydor UK (LP)

6/18/24 (review)

Hypothesis (1971 / 1980)

---2004

Hypothesis and The Dragon are loose jazzy rock jams from 1971 recorded prior to Vangelis' masterwork 666 with Aphrodite's Child. Vangelis treats these two recordings much in the same way as Klaus Schulze does with the Cosmic Jokers, in that he's distanced himself from them and claims they were never meant to be released to a larger audience. This argument can be further advanced by the fact that the LP's were released some seven years later. And Vangelis successfully sued to have them removed from the market. Though not in time for them to proliferate worldwide.

---5/18/23

Picked this up for a buck at the Austin show. I've had it before but my opinion remained unchanged on this revisit. I'll sell it again.

Former ownership: 1980 Oxford / Affinity Italy (LP)

1990 (acquired); 1996; 2004; 5/18/23 (reacquired / review)

Antarctica (1983)

I never heard this album, but it was very prominent in the import sections back then, which was my heyday into discovering new electronic albums. When one sees Vangelis and Antarctica, my mind moves to glacial and dull. But that's not really the case here. It's majestic and accomplished. While it for certain sounds "modern" by 1983 standards, its structure is based in both classical and 70s electronic. A very nice, mellow, late evening listen to reflect upon one's life. Probably not enough here for me to keep at this point, but I consider this in the upper tier of Vangelis' solo works.

Source: 1983 Polydor Japan (LP)

8/7/21 (review)
 

Mask (1985)

Similar to Mike Oldfield's Amarok considering sequence, Vangelis' Mask is an album out of nowhere. By this time, most of his music was wimpy New Age. But not Mask. Heavy sequencing, haunting choirs, pounding percussion, and moody textures define this advanced work. A great album that has stood the test of time. And a good one to play to those who think Vangelis is an artist to be ignored.

Ownership: Polydor (CD). 90's pressing.

1989 (LP acquired); 9/15/19 (review)

Sex Power (1970)

Sex Power is Vangelis' debut solo album, which is a pretty crude, but well done, soundtrack to a French soft core erotica flick. There's the usual ambient atmospheric keyboards, along with Martin Denny styled Exotica (bongos, voices), as well as sound field tape sounds. Decent enough for the era. Not sure why this hasn't been reissued (legit of course), given its historical value at the very least. Guess the artist wants nothing to do with it.

9/8/19 (review)

Also own and need to review Earth.

Once owned the following: Heaven and Hell; Opera Sauvage; China; The Friends of Mr. Cairo; Soil Festivities; The Dragon

9/15/19 (new entry)

Guru Guru (& related) ~ Germany

Kanguru (1972)

---June 2005

Closest early era Guru Guru got to mixing song craft with their unique blitzed out acid psych sound. Comes off like a twisted 8th dimension Jimi Hendrix. Pretty hard not to call this a classic, though it would be just as easy to see how this could turn people off.

---12/22/25

For whatever reason, I'm not really all that familiar with Kanguru, Guru Guru's third effort, despite owning the LP for well over 30 years. I had dumped my Brain CD not too long ago, and later thought this title warranted owning in both formats. So this listen was appointed to the top because of the reacquisition of the latest CD, as the LP hasn't been chosen randomly in 20 years. I didn't realize I had any notes until a search came up with the above. Let's see how it goes this time.

For some reason I remember the opening to 'Immer Lustig', not so much the rest. The translated title certainly reflects Mani Neumeier's silliness on the back cover. I'm just as unfamiliar with the predecessor Hinten, and I feel like knowing that album better would help me frame my narrative for Kanguru. And the transition from UFO to here. Kanguru is without a doubt still off the rails in high intensity heavy cosmic acid psych. Which was becoming unusual at that time. Even Amon Duul II had settled by 1972, though groups like Ash Ra Tempel were still climbing that mountain. Having said that, there is a distinct move towards composition here, as loose as they may be. As the music goes off into space and grinds its way through various jams, suddenly a cohesive new rhythm would appear complete with an unheard melody. There's no indication when this may happen, it's completely random. This isn't progressive rock in the slightest, but it does have some similarities in the unpredictability. When reading my short notes from 20 years ago, I managed to distill fairly well what's happening here. I would think Kanguru would be an easier introduction to Guru Guru than UFO, unless you are already predisposed to the insane German psych underground like I was (and documented below).

Ownership: 

1972 Brain (LP). Gatefold. Green Brain Metronome.

2025 Made in Germany (CD). Digisleeve. Booklet with historical liner notes (same notes as the 2009 Revisited reissue).

1992 (LP acquired); 1996 (Brain CD acquired); 6//05 (notes); 12/22/25 (MIG CD acquired / review)

Dance of the Flames (1974)

This is the odd album out in the Guru Guru canon. Former Eiliff guitarist Houshang Nejadepour took over the reins from Ax Genrich, and it's obvious he took over the musical direction of Guru Guru at this point too. And they needed it, after releasing the halfway stupid (and halfway great) self-titled 4th, and the ridiculous Don't Call Us We Call You albums. Heavily influenced by the McLaughlin / Santana opus Love Devotion and Surrender, Nejadepour gives us an intense guitar centric blast of emotional instrumental rock. Neumeier gets a rare chance to shows his formative jazz percussion chops while special mention should go to jazz bassist Hans Hartmann (AR & Machines, ID Company) who turns in a monster performance. Still, you can just hear Mani in the studio "oh please, please, let me do one goofy thing, pleeeassssssse." And so he gets his fun on the first track with a Donald Duck impersonation and bad vocals throughout (though the music is excellent). "Very nice Mani... now go back to your drum kit and shut up". 'The Girl From Hirschhorn' is a truly remarkable track, an extremely intense emotional and melodic workout, and the song that states this album was going to be a great departure from whatever came before it. 'The Day of Timestop', and 'God's Endless Love for Men' could have been lifted from Mahavishnu Orchestra's "The Inner Mounting Flame" sessions. 'Rallulli' sounds more like acoustic Embryo than Guru Guru.

After one album of spiritual enlightenment, Mani obviously wanted no part of that, and the group went back to being the goofball vehicle it had become, and never again was Guru Guru to release anything of that much interest IMO. Houshang was gone. Neumeier himself, however, did immerse in interesting projects, even today with the UFO styled Neumeier – Genrich - Schmidt and Gurumaniax projects. But Guru Guru as a band never again reached the heights of Dance of the Flames. Whatever happened to Nejadepour? What a talent!

Ownership:

1974 Atlantic Germany (LP)

2006 Revisited / SPV (CD). Tri-fold digi-pak. The liner notes include a full history of Guru Guru and a separate one for the album itself. Nice photos and an excellent 7+ minute live track round it out. It does sound to my ears that this was mastered from vinyl however. 

1989 (LP acquired); 1997; 9//06 (CD acquired / review); 8/6/15 (update)

 

Gurumaniax - Psy Valley Hill (2010)

Presumably, the members of Gurumaniax need no introduction, nor does its core group Guru Guru, so off to my notes we go.

Almost everyone I know that is aged 70 tends to be a doddering Grandfather, or someone who fiddles in the yard / garden to pass the day. Some are more active of course - maybe they travel extensively, run a restaurant, or they still immerse themselves in day-to-day corporate business. But absolutely no one I know at age 70 has recorded a KRAUTROCK ACID FREAKOUT album, as has Mr. Neumeier, who was already 30 when the monumental UFO was released in 1970. Joining Mani is the youngster guitarist Ax Genrich who was only 25 when UFO was launched. And Belgian bassist Guy Segers (Univers Zero) fills in ably for Uli Trepte (RIP) - himself no spring chicken. The music squarely fits into the exploratory Ohr years of Guru Guru, with heavy psychedelic jams offset by spacey parts. What an inspiration to see these guys still possess the spirit of their youth. I just hope I still have the excitement of listening to this stuff at 70! Gurumaniax's music make kids in their 20s put on the oxygen masks. I love it.

Ownership: 2010 Bureau B (CD)

4/10/13 (acquired / review)

 

UFO (1970)

I knew it was the best album in the stack. It was only a matter of time to when I could get home and hear it. Home to the United States that is. It was London, May of 1987, and I had picked up a pile of records from the Virgin Megastore, plus many others from our swing through Continental Europe. But I knew UFO was going to be the big winner. It was the Pop Import release of course, but even those were extinct in the record stores back home in Dallas. The day-glo gatefold cover of an orange flying saucer against the textured yellow background. The Ohr/ear symbol at the top (perfectly simulated with the new Captain Trip Japanese mini-LP release - right down the exact slickness of the cover). The giant ear on Uli Trepte's profile. Even the birthdates were telling. 1940, 1941 and 1945. To say, at the time of recording, roughly 25, 29 and 30 years old - pointing to the value of experience over youthful naivete. The track names 'Stone In', 'Girl Call', 'Next Time See You at the Dalai Lhama', 'UFO', and 'Der LSD-Marsch'. The liner notes in English: Soon the UFOs will land and mankind will meet much stronger brains and habits. Lets get ready for that. - P. Hinten. There were German notes as well, and they looked cool too. It had to be everything I imagined an unhinged German psychedelic record to be. I had read about it, and now I had it my hands. I could barely wait to fly home. Jet-lag be damned, it was on the home stereo the moment I walked in the door. It was an experience I would never forget.

Blam, blam goes Ax Genrich's massive fuzz guitar. BASH goes Mani Neumeier's gong / cymbals / percussion. Uli Trepte adds a bass line, and we're already in MID JAM form 15 seconds into the recording! And it gets only more intense from there. Brain frying acid guitar as the pace picks up and moaning wordless chants cascade over the mayhem. This isn't a mindless jam ala the Acid Mother's Temple. Everything is coherent, with a purpose, the work of 3 experienced jazz trained road warriors. They were already masters of their trade, but applied to a new kind of instrumental psychedelic free rock. 'Stone In' is 5:42 of perfection. Maybe the greatest opening sequence in psychedelic history. 'Girl Call' follows and is no less powerful, allowing us a viewpoint in what might have been the first minute of 'Stone In', before launching into another insane jam. The transition from the heightened tensions of 'Girl Call' to the fast paced Eastern oriented jam of 'Next Time See You at the Dalai Lhama' still sends shivers down my spine. By the end of Side 1, I can say with some conviction: It is perfect.

We theoretically flip the record over and visit the lengthy title track. Here Guru Guru shows their abstract side. An exercise in psychedelic decomposition. Rhythmnless. Intense to the point of painful. Out of the abyss rises 'Der LSD-Marsch', and the acid guitar trio is back in form, igniting your stereo in flames. If it went another hour, it would only be better. I can think of less than 10 albums I'd say that about.

21 years after that first encounter, I hear UFO better than ever. A true all-time classic that has transcended time.

Ownership:

1970 Ohr (LP). Gatefold. Original 56 version. 

2008 Captain Trip (CD). Gatefold papersleeve.

5/17/87 (Pop Import LP acquired); 8/20/08 (CD acquired / review); 12/4/21 (update)

Also own and need to revisit: Hinten; Guru Guru (1973); Hot on Spot / Inbetween; Psychedelic Monsterjam; The Intergalactic Travel Agency

I've owned many other titles, some I need to revisit, others I know can be left at the door.

6/8/09 (new entry)

Maynard Ferguson ~ Canada ~ USA

Carnival (1978)

As with Primal Scream and Conquistador, Carnival is an album I acquired in high school and doubtful it made it to college with me. I had forgotten about this title actually, and its impact was far less than the other two. If memory serves, this album showed up about a year later in my collection, and my brain was going underground by then. The 69 cent bin comes in handy once again, and let's see if I remember any of it. This is also the first vintage Maynard album for me to hear on CD (not counting Diane Schuur).

As with Conquistador, the album opens up somewhat in proggy territory, before finding its way into more friendly funky big band sounds. Strings and a light disco beat add that Love Boat cruise ship feel. That's not to say the funky beats aren't complex and well written. This isn't dance music, more like cocktail hour on the Lido Deck. The second track is my all-time favorite Earth Wind and Fire song 'Fantasy'. A very unique arrangement and entirely satisfying. 'Battlestar Galactica' is a repeat of the same idea and same placement as 'Star Trek' from Conquistador, which was one album prior. 'Stella by Starlight' is an old school jazz lounger.

The second side opens with 'Birdland', a signature song written by Joe Zawinul of Weather Report and can be found on Heavy Weather. We used to play this tune in our high school stage band in 1982-83, which may have been the impetus for me buying this. 'Baker Street' is an unnecessary cover of Gerry Rafferty's hit single. 'How Ya Doin' Baby?' sounds like a caricature of funk. The album closes with a smooth jazz rendition of 'Over the Rainbow', and you can imagine how that sounds.

Yea, I can see why this title didn't register much with me. The other two are powerful and dynamic. Carnival plays more to its perceived audience rather than asking the audience to accept what Ferguson brings. The opening two tracks are the winners here. I can move on from this title.

Source: 2003 Wounded Bird (CD). Booklet with recording details.

1982 (LP acquired); 12/22/25 (review)

Primal Scream (1976)

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 (40+ 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.

Ownership: 1976 Columbia (LP)

 
1981 (LP acquired); 10/4/24 (LP reacquired / review)

 

New Vintage (1977)

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 reviews here), 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.

Source:  1977 Columbia (LP)

 
8/2/24 (review)

 

M.F. Horn 4 & 5: Live at Jimmy's (1972)

Wow, the first side is excellent recalling the powerful 'Give it One' from MF Horn 2. My kind of rocking big band sounds. The rest is pretty standard "stage band" fare, the kind of music I used to play while in high school. Well done for what it is, but not something I will listen to much and can sell. But side 1 almost had me keeping it. 

Source: 1972 Columbia (2xLP)

4/18/22 (review)

M. F. Horn Two (1972)

Ferguson has something very interesting going here - that of a big band rock album. Not horn or brass rock, but big band. Terje Rypdal started his career with a similar type effort. The opener 'Give it One' packs a wallop, with multiple theme and meter changes. And jams heavy too. I would love to hear a whole album of this! The remainder is the usual Ferguson mix of cover tunes and originals, the latter being the highlight. Though I never tire of 'Theme from Shaft'. Overall, the album is quite good and unique - for my collection at the very least.

Ownership: 1972 Columbia (LP).

 
3/9/22 (acquired / review)

Conquistador (1977)

This was the first jazz album I ever bought, going all the way back to 1981 while still a sophomore in high school. Ferguson was popular with the brass section of our school marching band, which I was part of. I really enjoyed it at first, but I didn't really have a foundation or perspective for the music, and a few years later I parted with it. I don't think I allowed myself a chance to like it honestly. Now it fits perfectly with my ever increasing interest in jazz funk. I'm a sucker for the 'Rocky Theme' anyway, and what better way to open an album. 'Mister Mellow' and 'Soar Like an Eagle' are superb jazz funk numbers. And the title track starts off in progressive rock territory of all things. After the opening trumpet proclamations, it breaks down into a massive oft-kilter bass and drum riff, before joining the rest of the album's genre motif. Today I consider this an excellent album and glad to be reunited.

Ownership: 1977 Columbia (LP). Half-Speed Mastered. 

1981 (LP acquired); 3/12/22 (LP reacquired / review)

Diane Schuur / Maynard Ferguson - Swingin' For Schuur (2001)

This one goes back to 2019 when I bought a huge pile of CDs for pennies. Pretty good late night noir-ish release. Schuur does a decent job at the femme fatale role, though she isn't really sultry enough. When it's her and the band, the music is nice for driving. But oh boy, is Maynard Ferguson all wrong for music like this or what? His "primal scream" trumpet is all over the recording, and it's like an air raid siren blaring on top of a symphony orchestra. This music is made for Miles Davis and his followers. For me, 'Bésame Mucho' is the highlight of the 12 songs here. 

Source: 2001 Concord (CD)

11/28/21 (review)

7/29/22 (new entry)

Triade ~ Italy

1998: La Storia di Sabazio (1973)

---March 2005

Funny, as I hear this album again, it’s clear that when the Japanese want to emulate Italian groups from the 70’s, this is what they sound like! Mahoujin, Social Tension, Ars Nova, even Pochakaite Malko borrow heavily from this album. Triade themselves are clearly influenced by ELP, but with the usual overblown style the Italians are famous for. Though not as insanely bombastic as Metamorfosi on Inferno. Now that’s side 1. For side 2, more of the same, but they change gears on ‘Espressione’ towards a more mellow sound dominated by piano and acoustic guitar. Reminds me a bit of Latte E Miele’s Papillon or even some of Gli Alluminogeni’s more lucid moments. This is pretty easy to digest, standard issue Italian prog. Not sure why it gets dogged, other than it’s not Semiramis or Museo Rosenbach (they can’t all be). And standard issue from the 1972-1974 era means 4 stars around here.

---12/22/25

And that was my last listen, which was pre-UMR. Until today. My Japanese reference, of course, related more to the composition style. Not the sound, as Triade is every bit the era of 1973. Hammond organ and that fuzzy production that make Italian albums so endearing. The first side is all instrumental whereas the flip has vocals.

Ownership: 

1983 Nexus / King (LP). Gatefold.

2004 Strange Days / Warner (CD). Gatefold papersleeve. Also have the Disc Union storage box with this album cover.

6//96 (LP acquired); 6//99; 3//05 (CD acquired / review); 12/22/25 (update / new entry)