Mandragora ~ England

Earthdance (1992) 

You can read my thoughts about Mandragora in the reviews below. I don't have too much to say beyond that. To summarize, Mandragora are one of my favorite bands from the original UK Festival Psych scene. They had a unique disparate approach though their sound is largely familiar. Earthdance is their 4th album (counting their debut cassette), and is closer to the previous Head First than the follow up Temple Ball. Mostly it's the eclecticism that makes me think that. This is the kind of album you just hit play and let 'er ride. Good music from a good era. This is a title I first bought on LP and switched to CD quickly. Today they're worth about the same.

Ownership: 1992 Mystic Stones (CD) 

1992 (first listen); 1/20/25 (review)

Phil Thornton with Mandragora - While the Green Man Sleeps (1993)

--- 9/29/09

Phil Thornton is the main man behind Mandragora and they were one of the great UK festival psych bands. And while this goes under the Phil Thornton name, most of Mandragora is on it, and it sounds like a Mandragora album to be honest. Or perhaps a more electronica version of the band, something the group eventually moved to anyway on their 1998 opus Pollen. This particular release reminds me a bit of Ship of Fools actually, given the relaxed nature and flow of the music. 

--- 10/7/22

As noted already in a couple of places, I'm quite fond of Mandragora, who I felt added a bit more than your garden variety space rock and UK festival act. And this listen resulted in a +1 as well. I didn't mention this above, but While the Green Man Sleeps is a mixed release. The first two tracks are from a concert in Scotland circa 1987. And for whatever reason they included 'Xylem' from Earthdance which is superfluous. The remaining three tracks are newer recordings and apply more to my initial review. The final track 'Rainbow Chant' is nearly 25 minutes, and is worth the price of admission alone.

Ownership: 1993 Mystic Stones (CD)

1994 (first listen); 9/29/09 (review); 1//10; 10/7/22 (update)

Head First (1991)

There was a time - in the early days of the UK Festival Psych movement - that Mandragora were one of the bigger names of the scene. Perhaps only second to Ozric Tentacles in name recognition. But by the end of the 90s, the band more or less died like most of the genre. And are now largely forgotten. Which is really too bad.

Head First is Mandragora's second proper album, and possibly their first fully realized one. It's disparate in style, but unmistakably Festival Psych. For example 'Pendulum & the Pit' is a solid hard rock number, not too far removed from a late era Hawkwind sound (the aforementioned were Mandragora's idols). 'Talking to God (Pt 2)' is one of the more wacky pieces here, very psychedelic with phasing, warbled voices, and wicked fuzz guitar. 'Raga' goes out East for the obligatory Indian psych trip. Both 'Yesterday's Tomorrow' and the title track offer the best representation of the album as a whole, and includes all of which they bring forth here. 'Grooving in the Dog House' gives us a glimpse to their sound at the end of the decade - more electronica and less rock influenced.

Overall a very solid entry into the English late 80s / early 90s psychedelic underground. I've owned this CD since it first came out, and it only gets better with age.

Ownership: 1991 Resonance (CD)

1991 (first listen); 1/1/19 (review)

Temple Ball (1994)

For my money, Mandragora were one of the top UK festival / space rock bands of the 1980s and 90s, perhaps only bested by Ozric Tentacles and Omnia Opera (though really obscure bands like Crow and Blim were just as outstanding, but those are more recent discoveries for me).

Mandragora's trajectory was a bit different, however. On album at least, they started with hard rock, moving ever slow slowly to space rock, then onto ethnic tinged electronic rock, some techno, etc... I like all of their albums, but it was on Temple Ball that the band finally unleashed their ferocious guitar fronted space rock style. Like many of the bands of their era, Mandragora mixed in recorded TV and radio bits to add to the ominous atmosphere, before launching into another intense jam.

The banger (hipster talk) here is 'Talking to God (Part IV)', but other great pieces include 'Zarg', 'Inside the Crystal Circle', 'Rainbow Warrior', and the title track. The album claims to be recorded live "in the Crystal Feb '94", but I don't think it's an actual concert. If it was, then it's been completely edited like a studio album and there's no audience noise. I prefer it this way myself.

This is definitely the best album on the space rock specialist Mystic Stones label, and sadly, very close to the label's last release.

Ownership: 1994 Mystic Stones (CD)

1995 (first listen); 11/17/11 (review); 7/6/22

11/17/11 (new entry)

The Chris Hinze Combination ~ Netherlands

Despite what it may look like below, I have a few Hinze albums in the collection. I just haven't written anything meaningful for any of them. We'll get there eventually.

Here is my summary from 7/18/09: Dutch flautist Chris Hinze was far more than just your usual jazz flute player. Especially on Mission Suite where he combines jazz and progressive rock very effectively. Stoned Flute and Live at Montreux are more steeped in the jazz tradition, but aren't standard by any means. Who Can See the Shadow of the Sun is a bit looser than the others during this period, and will appeal most to those into "out" jazz. Sister Slick is probably Hinze's heaviest album, with Philip Catherine on guitar, and is a good representation of the harder edged fusion style. His later 70s work strayed towards fuzak. Interesting to note that his other album from the early Seventies, 1972's Virgin Sacrifice, has been reissued on CD. I'm sure it earned a CD imprint (on his own label) since it foreshadowed his future work as a new age artist. It's very different from his other albums during the early 70s.

Stoned Flute (1970)

I've had this LP for well over 20 years but I think it's only the second time for me to hear it. I had such high hopes for this when I first obtained it. That most awesome title and the fact that I was already an established Hinze fan. But this falls to the free jazz side of the equation. It's not unpleasant at all, with plenty of standup bass and piano along with Hinze's flute. Everyone once in awhile they'll catch a groove and you begin to think there might be something here to grasp onto. But then it falls apart per protocol. Lot of folks I know into this scene, but I'm just not one of them.

Former ownership: 1970 CBS (LP). Gatefold

2003 (first listen); 1/7/25 (review)

Charlie Mariano with the Chris Combination (1973)

Straight up jazz session with American WWII veteran saxophonist Mariano joining forces with the Chris Hinze Combination from the Netherlands. This CD is a reissue of Charlie Mariano With The Chris Hinze Combination with the 18+ minute "bonus" title track improvisation thrown in the middle. Mariano himself was just taking baby steps into the European underground (see Osmosis for some American subversiveness) with jazz flutist Hinze's outfit. He was later to embark into an enlightening journey with Krautrock legends Embryo, and participate on some of their finest works shortly thereafter. 'Traditional South Indian (Carnatic) Kirtanam' is exactly the type of music he performed later with the underground Embryo. A real Hepcat, man.

Former ownership: CD: 1995 Black Lion (Germany) as Blue Stone. Booklet has original liner notes.

2003 (first listen); 12/10/15 (review); 4/23/24

12/10/15 (new entry)

Deep Purple (& related) ~ England

Deep Purple are arguably one of the best hard rock groups ever, going toe to toe with Led Zeppelin in the 70s popularity sweepstakes. The primary difference is that Deep Purple continued on into the 80s and beyond, and are still releasing new product. I haven't heard a Deep Purple album yet that I didn't enjoy at some level. Granted I haven't listened to anything new from the band in nearly 30 years, but I'm sure I will at some point. As you will see below, the later albums are new to me in the 2020's, that's how long ago I dropped Deep Purple from the buy category (1984). I have more of their classic albums here too, just haven't penned any notes for them yet.

As for the "& related" appellation, I'm casting a wide net. Mostly I'm thinking of groups and artists that I wouldn't likely separate anyway, so might as well include them here. The exception is Rainbow, and I'll get a page up for them the next time I review one of their albums or 45s. 

Whitesnake - A Slip of the Tongue (1989) 

As with their 1987 album, A Slip of the Tongue starts off strong. It doesn't take long, though, for Whitesnake to out-cliche the cliche. The title certainly is indicative of their mindset. One senses at this point that they're jealous not to have been from Los Angeles. They certainly sound like it. Depraved and all of that, but musically it's good hard rock. Nothing more though.

1/29/25 (review)

Source: 1989 Geffen (MC)

Tommy Bolin - Private Eyes (1976)

Tommy Bolin's albums show up quite a bit here in Colorado since that's where he first made his name. So what do we have here from Bolin's post Deep Purple life? It's an eclectic album mixing various AOR and classic rock styles. Most of the tracks are pleasant and well written. With excellent guitar work as to be expected. I'm not real keen on A2 and B3, but the rest is very good. The payoff cut here is 'Post Toastee' the only place that Bolin really lets loose on the guitar. I remember hearing this song on the radio while still in high school and wondering who it even was. Once I found out and then saw the album cover, instincts told me to avoid. And that was the right call at the time. Today I'm waffling on keeping this, but that one track is exceptional. So I'll keep it for today. Unfortunately this was to be Bolin's last work, dying of a drug overdose at the young age of 25.

Ownership: 1976 Columbia (LP)

4/28/15; 1/27/25 (new review)

The House of Blue Light (1987)

In recent years I've inexplicably acquired a taste for later era Deep Purple. As I reflect back, The House of Blue Light would have been the first album I'd ignored entirely and that remained the case until only the last few years. My reunion with Perfect Strangers went much better than expected, and I hear this album very similar to that one. So why would that be the case? I think real time, to my ears at least, these old dinosaur rockers weren't bringing anything new. Blues based hard rock was ever pervasive on the radio and honestly a bit tired by then. Forgetting my initial deep diving into the 70s European underground for a moment, I was also tracking current metal trends, in particular on the thrash side. That was where my high energy dollars were going. Not hard rock retreads.

Today I hear a band that was embracing their past while begrudgingly giving into some 80s trends. Essentially it's retro hard rock 15 years before anyone would think of such a thing. While some of the production techniques remind us of the 80s synth pop bands, Blackmore's guitar is still rooted in the 70s past. Gillan sounds great, though less emotional than his best works. He seems to be emulating Dio oddly enough. Sure 'Call of the Wild' can be skipped (not really a bad song, just the wrong band to perform it). 'Hard Lovin' Woman' has the right title but the perkiness doesn't match. The rest of Side 2 is where the revelation is. One wonders if many fans had the patience to get that far. Every track is a winner and Blackmore lets loose more than usual. 'Dead or Alive' is a great closer where Jon Lord finally shows up with his Hammond B3 and they get into an updated 'Highway Star' solo trade off.

Certainly not suggesting that The House of Blue Light is the pick of the Deep Purple litter, and I'll probably sell it at some point. But it's much better than I expected.

Ownership: 1987 Mercury promo (LP)

6/4/24 (new review)

In Rock (1970)

Below I wrote for the follow up album Fireball: "While seemingly half of Europe was copying Deep Purple - In Rock's innovations with hard rock, the band themselves regressed back into blues rock." In hearing In Rock for the first time in many years, I think I managed to underestimate it. Every track is a hard rock winner, with Blackmore and Lord trading the heaviest solos of their career. Ian Gillan provides the blueprint for every hard rock, and later, heavy metal vocalist. Paice and Glover are on fire here. 'Child in Time' is a track for the ages. 

Ownership: 1973 Warner Bros. (LP). Gatefold. 

1986 (first listen); 2006; 2/2/23 (review)

Deep Purple (1969)

Deep Purple's 3rd album is an odd bird to be sure. It's a ship without an anchor. Is it prog? psych? hard rock? The answer is yes. They really have a great sound here with Blackmore displaying more of an acid tone than usual and Lord's Hammond way out front. This was to be the end of Mk. 1, before the band decided to rip their shirts open to show their hairy chest while their balls clanged to the ground. It was the right move at the right time, and Deep Purple are legends because of the variation of the band known as Mk 2. What would have happened had they continued with Evans and Simper? Hard to know but likely they would have stayed regional and ultimately faded away - one more 60s English band that is more a footnote than one with a true historical legacy.

In any event, I like this 3rd album - as quirky as The Book of Taliesyn that preceded it. No major highlights but an easy album on the ears that doesn't ask too much from the listener.

CD comes with five bonus tracks, two from a single and three taken from BBC radio sessions.

Ownership: 2003 Purple Japan (CD). Extra thick gatefold papersleeve. 

7//05; 12/4/22 (review)

Whitesnake - Lovehunter (1979) 

A real outlier in RTs collection. "I liked the cover" he tells me. Well yea, can't argue that point! Lyrically these guys were really plugged into the macho oversexed culture of the day. Today they would be cancelled for being sexist pigs. Which is, of course, what they were... Musically it's still the same old bluesy hard rock that one would hear from 1973. So they had fallen way behind on that front. Ultimately they would catch up with the era they lived in (see our notes on the 1987 album). A pretty good album, but nothing that really stands out.

Source: 1979 United Artists (LP) 

11/24/21 (review)

Fireball (1971)

While seemingly half of Europe was copying Deep Purple - In Rock's innovations with hard rock, the band themselves regressed back into blues rock. At least for the first side. Though the opening title track is a burner, the rest takes us back to the late 60s pre-proggy era of Purple, and is shockingly ordinary. Side 2, however, makes up for it and picks up where the last album left off. Much more interesting and creative hard rock - though not trailblazing. When it's 1971, you are Deep Purple, and your album is named Fireball, one presumes you'll get more than this. Led Zeppelin, for their part, put out 'Stairway to Heaven' among other tracks etched into our collective DNA's. You think they created some separation there in the public's mind? Oh yea. Meanwhile Black Sabbath was dominating the underground with Master of Reality. Most people here couldn't name one song on Fireball, as none of these made it out of the early 70s as far as American FM radio was concerned. They were to make up for all of this in a big way the following year with Machine Head. But they lost some ground in 1971, a most pivotal year.

Ownership: 2000 Warner Bros. / Rhino (CD). Full written history, new photos, vintage posters, old reviews, and multiple relevant bonus tracks including a 45 single. An excellent reissue.

2//06; 8/13/16; 3/25/17; 10/23/22 (review)

Trapeze - Meduza (1970)

Trapeze's second album is a solid hard rock work, one step ahead of the more blues oriented competition. The band is most known for contributing Glenn Hughes to Deep Purple and Dave Holland to Judas Priest (later), though they had a nice career throughout the 70s. Guitarist Mel Galley found success with Whitesnake as well. Speaking of Judas Priest, one can hear their prototype on tracks like 'Jury' and 'Medusa'. Not a life changing album, but this is good meat and potatoes hard rock.

Ownership: 1970 Threshold (LP). Gatefold. 

8/26/22 (review)

Perfect Strangers (1984)

The hype sticker on my copy screams "Destiny Brought Them Together. Again." So we'll presume then that it was destiny that intervened and broke them up. Again. Or it could just be that Blackmore and Gillan couldn't stand each other. But on this reunion of the famous "Mk. II" band, their first together since 1973, the band sounded fresh. 1984 was an odd time for an old fashioned hard rock band to be trying to make a comeback in a world full of heavy metal bands and New Wave pop artists. Undeterred, Deep Purple did just that. The title track sounding more classic Led Zeppelin than Deep Purple, nonetheless they caught fire and Deep Purple were back in the limelight for the first time in a decade. Jon Lord's organ hasn't changed one bit (no need for cheap synthesizers), Blackmore is ripping solos in his inimitable way, and Gillan is still sounding like a virile young man. The only downside is that Glover and Paice did decide to sound more 80s, and the wide open beats are too simple for these guys. 'Burn' this is not. All the same, a triumphant comeback album.

Ownership: 1984 Mercury (LP). Lyric insert. 

1984 (first listen); 12/29/21 (review)

Purpendicular (1996)

One of my favorite pastimes of late is enjoying past-their-prime releases of known bands. Uriah Heep, Saxon, and... now add Deep Purple to that list. If nothing else, gives me something to look for while combing the thrift shop CD bins. I had a grade on this from before, but I don't remember a thing about it, which tells me I probably heard it real time. Back then I wasn't so keen on these "has-beens" trying to stay relevant. I also didn't give it a chance I'm sure. In reflection, I'm hearing the classic Deep Purple sound 20+ years from their best years. And when one looks at the line-up, it's Mk. 2 with Steve Morse instead of Blackmore on guitar. Which is sacrilege for many, but Blackmore left Purple behind a couple of times, and hasn't looked back since 1993. So what's a band to do - quit? No. Persevere. Bands as brands as I've said many times before. This is pretty much 70s hard rock with Hammond organ (yep, the old warhorse Jon Lord is still banging away on the heavy piece of wood) and Morse providing a more updated guitar approach (i.e. more notes per minute). Gillan sounds great, and his bluesy voice is timeless. Paice and Glover are a machine by this point. Good set of tunes. What else do you need? 

Ownership: 1996 Prominent (CD) 

10/22/21 (review)

The Book of Taliesyn (1968)

Clearly Deep Purple were going towards heady waters with a title and cover like this, especially for 1968. In fact, Deep Purple had to make a conscious decision to move away from prog and over to hard rock eventually, and it was there they found fame and fortune. I had my best listen in 35 years this go round (+1). Really appreciating Jon Lord's Hammond organ contributions at this point of the group's career.

Ownership: 1971 Harvest (LP). Gatefold. UK pressing

1986; 2//05; 10/19/21 (review)

Whitesnake (1987) 

I remember when this album first came out, and the track I heard was 'Still of the Night'. Based on that, I purchased the LP. To great disappointment. And sold the LP in the mid 90s (if not before). Once I saw this special edition, I thought this would be a good chance to hear it again. The CD opens with - you guessed it - 'Still of the Night'. Which is not how the originals started, but makes sense in retrospect. It's a foot stomper of a track. Huge fat chords, heavy beats, and creative passages. It's a no wonder I was drawn to this album originally. And that's pretty much it for that style. Certainly tracks like 'Bad Boys' and 'Children of the Night' bring it as well, and have earned their hard rock street cred. But boy is this an album of the 80s or what? Big hair, beautiful bodies, and little brain use. 'Is This Love?' is pathetic - gee, I don't know - is it? I'm pretty sure the only things these guys would have known is 'Is this Sex?'. 'Here I Go Again' is the kind of track one would think a time traveler would make about 80s music, it's such a caricature of the entire genre. We can criticize this album all day long, but this is exactly what audiences wanted back then. It does have a time and place charm, that's for sure. I'm keeping it. File next to your mousse can.

Ownership: 2007 EMI Europe (CD + DVD). 20th Anniversary Special Edition. Double digi-pak with four live tracks.

1987 (first listen); 3/6/21 (review)

Warhorse (1970)

The debut of Warhorse is quite a powerful tour de force for 1970. Bassist Nick Simper is the big name here, coming fresh off his firing from Deep Purple. Probably no surprise then that vocalist Ashley Holt is a screamer in the Ian Gillan mold, by then certainly Simper's arch enemy. The band also originally had Rick Wakeman in its ranks, but replacement Frank Wilson pounds on the organ with the best of them. But it's guitarist Ged Peck who steals the show here, and lays out a blueprint for the riffing style that was to come years later. There's little from 1970 that has the pure force of 'Burning', the album's highlight along with the raucous closer 'Woman of the Devil'. Of the seven tracks here, five are excellent or beyond. 'Ritual' is, as other's have noted, a bit too close to 'Mandrake Root' for comfort. 'St. Louis' is the only skip over track as it sounds like Deep Purple playing with.... The Partridge Family. I'm serious! Two small marks on an otherwise brilliant hard rock album, a pioneer of the genre honestly.

Ownership: 1999 Angel Air (CD). Liner notes, photos and five bonus tracks. Four are live versions from the album proper, and the other is the demo track 'Miss Jane', which was best left on the cutting room floor.

2005; 5/4/19 (review)

Warhorse - Red Sea (1972)

Add another name to those who feel disappointed by this effort. I had that somewhat cheap looking Thunderbolt vinyl reissue going back to the 80s, and sold it not long after, as I was nonplussed about the music from the get. However, I picked up the Angel Air CD about a decade ago, and thought it good enough to keep. This relisten validates my initial assessment.

In hearing it again, it becomes obvious why most folks tend to appreciate the album, including myself. The first two tracks are excellent, sounding exactly what one expects of Warhorse: That of Mk. 1 Deep Purple emulating Mk. 2. But the appropriately titled 'Confident But Wrong' shows the frayed strands of creativity, and introduces us to four very ordinary rock and roll tracks that are a slog to sit through. Though the lengthy 'Mouthpiece' looks alluring on paper, one quickly realizes there's not much but a skeleton of a song there, with an overlong drum solo to boot. 'I (Who Have Nothing)' begins to turn the corner with its shrieking Ian Gillan-like pleas, but it's clearly too late, and this warhorse has already sunk to the bottom of the sea. And this would be the end for the once promising hard rock band.

Given the pedigree of the band, this album was somewhat "mainstream" in real time, and was pressed in multiple countries. Surprisingly, though, it did not receive a US pressing.

Former ownership: 1999 Angel Air (CD)

2005; 7/10/16 (review)

1/1/17 (new entry)

Styx ~ USA ~ Chicago, Illinois

Styx was my first contemporary favorite band when I started collecting LPs instead of 45s. This would be 1977 and I was 12. No surprise that I gravitated to progressive rock (it would be another few years before I even knew what that term meant), and it was 'Castle Walls' (from The Grand Illusion) that initially drew me in. Along with 'Suite Madame Blue' from Equinox, this wonderful composition demonstrated that Styx could have been a successful progressive rock band had they tried. But why do that when they ultimately became megastars doing what they did best - marrying commercial FM radio hits with some sophistication. Styx are very much Chicago (the city) in their approach - brash, in your face, and as subtle as a train wreck. With added street smarts. They played both sides of the rock radio commercial fence and won most fans over. Today, Styx are one of those bands that creates handwringing from the modern critic. Aren't they just too cheesy? All that is endemic to late 70s and early 80s AOR? They don't get a pass like Steely Dan does. To be fair, I do think experiencing their albums from the era does help in this case. I was just coming of age myself, so music like this is more part of my DNA than an objective viewpoint all these years later. While obscurities such as Alpha Centauri, Gideon, etc... continue to roll in, and I (and others) heap much praise, they really aren't so much different from a musical approach. But superstardom has a way of bringing out the naysayers. And I too can be just that person when groups like REO Speedwagon and Journey find themselves on my turntable. Yuck - how could have anyone liked that I ask? While I personally think Styx is a cut above, not all who hear them agree.

Paradise Theatre (1981)

As noted in the summary, Styx were my favorite band in 1977 and 1978. By 1981 I was hiding from them, disassociating myself from my early fandom. Their prior album Cornerstone (1979) was a disaster with no redeemable qualities whatsoever. Not only that but by 1981 I was an early adopter of heavy metal having loaded up on Judas Priest and the Scorpions albums, plus getting on board with the new generation like Iron Maiden and Saxon. Such is the trajectory of the anger filled teenager going from age 12 to age 16. As would be the case throughout my life, when I first embraced Styx they weren't very popular with my school mates. By the time I was a sophomore in high school, they were extremely popular in the same way that Journey and Foreigner were. And Paradise Theatre was that album that propelled them to the highest ranks of respect among that crowd. Being the contrarian I was, my reflexive response was to hate it. So take that you soft-bellied weenies! About seven years ago I grabbed the CD for dirt cheap and made an objective go, but I wasn't impressed. Now I've found the LP for a buck, let's try it one more time. These past seven years has allowed me to ditch a lot of my prior bias' and embrace albums and styles of music that I once scoffed at. If you've noticed my latest motif, an album review without a cover means I didn't keep it. There's your clue. Even after all this time, my 2018 analysis was correct. The songwriting just isn't there. They have hits from this album like 'Too Much Time on My Hands', 'Snowblind', and 'The Best of Times' but they're just bad reminders to me of the sad state of radio in the early 80s. I do like that Styx boldly went forward with a concept album when doing such a thing was considered nerdy at best, and nerdy was not cool in those days. And I also like that the concept was about a glorious time (1920s) in their breeding ground of Chicago. So yea, certainly better than Cornerstone (not much is worse) but not even close to earning shelf space.

Source: 1981 A&M (LP). Gatefold

1981 (first listen); 2/12/18; 2/23/25 (review)
 

Styx II (1973)

As noted on in the summary, Styx were my favorite contemporary act as a 12 year old. Going into my first year as an teenager, they also represented the first band I began to deep dive on. I believe Styx II was the second full length for me to own.

About 18 years ago I wrote the following (after acquiring the CD comp): "Styx II, the album famous for spawning ‘Lady’, starts to show the band tighten up their sound and composition structure. The first three tracks are awesome (including ‘Lady’) and features one of their best “pure prog” tunes with the eight minute 'A Day'. They don't sustain the momentum though. Each early Styx album has at least one hideous woofer, where they try to show that they can play old style 50’s rock and roll, and Styx II is no exception. The band were too diverse for their own good in the early years. ‘Lady’ didn’t become a hit until 1975 just after the release of their 5th album Equinox. From there they skyrocketed into the mainstream."

Yea, exactly that. Typical unfocused early Styx release. But it does include John Curulewski's greatest contribution to the group which would be 'A Day', a wonderful drifty melancholic proggy number. 'Lady' is a beautiful song, and the A&R guys missed the boat originally. That track would also predict their future. In the end, not really a great work overall, and arguably the worst of their original quartet of albums.

Ownership: 1973 Wooden Nickel (LP); 2005 Hip-O Select - The Complete Wooden Nickel Recordings (2xCD). See Man of Miracles at the bottom of this post. 

1978 (first listen); 5//05 (notes); 11/12/23 (review)

The Grand Illusion (1977)

So here is where I started with Styx. I love the opening 'The Grand Illusion' which I think is the perfect blend of who Styx really were at this point: AOR, Hard Rock, Progressive Rock. In that order. Tommy Shaw really comes into his own with 'Fooling Yourself' and 'Man in the Wilderness', the latter featuring a killer guitar break. Shaw adds a touch of folksiness to most of his tunes, another lever for the band to pull on. Other than the proggy 'Castle Walls', my other favorite track was (and is) 'Miss America'. This tune is quite possibly James Young's finest hard rock composition. While I gravitated towards prog at an early age, I also had some pent up anger for a lot of reasons, and 'Miss America' helped me through some early aggression. As strange as this may sound, it was Styx that introduced me to the hard rock, and ultimately, heavy metal genres. Both still favorite styles of mine today, though the anger element is long gone from me. I appreciate the energy and tone they both bring.

That leaves the throwaway 'Superstars', the only track on the album I have no memory of despite hearing it hundreds of times. And then comes their blockbuster 'Come Sail Away'. It is an absolutely beautiful track. Had it been only three minutes - perfect timing for the radio - then I would have loved it. But that annoying chorus which never stops drives me batty. Why they felt it so necessary to carry that on for so long is a great mystery to me.

Ownership: 1977 A&M (LP). Lyric insert and poster. 

1977 (first listen); 7//05; 11/6/23 (review)

Styx (1972)

I think to fully appreciate Styx's debut, one has to immerse themselves into the era from which they came. As I've mentioned a few times prior, while England and Europe had full blown progressive rock scenes operating in the early 70s, America's labels didn't support it. Couldn't see the commercial value. Album rock was an English thing. Singles are where it's at! This mindset prevailed despite massive sales going to English bands thriving in that market. It isn't like progressive rock didn't exist on these shores, it's that they were four to five years behind the curve. There were meager attempts (commercially speaking that is) by awesome groups that remain unfairly obscure such as Ram, Polyphony, and Sanctuary. But they were few and far between. The mid to late 70s saw the grassroots prog movement here finally explode - to strictly local and regional audiences. Essentially the major labels missed the boat. Something they were careful not to replicate as the States were the leader in future musical endeavors, the various styles of heavy metal in particular comes to mind.

So back to Styx. Their debut was a fish out of water. A prog rock record released by an American band. Now it didn't help that Styx weren't really all that progressive to begin with. It's 1972, so you're up against Yes' Close to the Edge and Genesis' Foxtrot as but two examples of hundreds. Styx is miles less interesting than that. What Styx really did was predict the regional nature of such music here in America. They couldn't be more Chicago-born even if they tried. Most folks were likely to discover Styx's debut after the fact, long after they were megastars. And in that scenario, they also fail, because this is a long way from their patented professional AOR / prog formula. Styx's debut is music for the local club set, not the arena.

With all of that in mind, were it a private press, or even a major label one-off flop, the album would have more underground fans. It's definitely charming. The lengthy opener 'Movement for a Common Man' has a lot of quality jams and songwriting. Besides, I heartily agree with the old codgers in 'Street Collage' lol. 'Best Thing' was their big bet on a hit. It's a really good song, but too heavy and dirty for 1972 pop rock. It's definitely an album rock cut. 'Quick is the Beat of My Heart' is another quality hard rock track. There's nothing weak on this debut, though it was hardly a bold statement going mightily forward. It sounds hedged primarily because Styx were never truly an all-out prog band. They were a Chicago bar band who extended their skills way beyond their peers. And it ultimately paid off.

Ownership: LP: 1972 Wooden Nickel (LP); 2005 Hip-O Select - The Complete Wooden Nickel Recordings (2xCD). See Man of Miracles at the bottom of this post.

1978 (first listen); 1985; 5//05; 7/19/22 (review)

Equinox (1975)

One of the earliest albums I ever owned, I pretty much have this album memorized. It was one of my favorites when I was 13, a couple of years after its release. The album's two openers 'Light Up' and 'Lorelei' were FM radio staples in the late 70s. Both feature punchy synths and hard rocking guitars, the new formula for Styx once they joined the A&M record label stable. The only two tracks I don't recall are the last couple of cuts on the A side. I should remember 'Mother Dear' though, as it's an excellent organ driven proggy number. Perhaps a look back to their earliest albums. 'Lonely Child', yea OK, it's pretty forgettable. All of side 2 kicks ass. 'Midnight Ride' is patented James Young hard rock, with some ripping solos, and I've always appreciated his rough n' ready vocals. 'Born For Adventure' is another heavy prog oriented number, with some great bass work, and we used to go wild as kids when they phased the vocals towards the end. But it's closer 'Suite Madame Blue' that wins the blue ribbon, and is arguably the greatest progressive rock composition in Styx's career. The bit where the synthesizer melts down and the heavy guitar riff comes in and then they start singing "America" in harmony sends chills up one's spine. Equinox is part of my DNA by now, so no chance for objectivity here.

Ownership: 1975 A&M (LP). Lyric inner. 

1978 (first listen); 7//05; 12/18/12; 12/27/21 (review)

Crystal Ball (1976)

I've owned this album in one form or another since 1978, when I was just starting to get into record collecting as an early teen. Styx was my first "favorite band" and even had a belt buckle of their emblem. Hey, I was a kid. Wish I still had it, I'm sure it's worth quite a bit today. Maybe I would even wear it! Yea, and my wife would kill me, so scratch that. In any case, Crystal Ball was never one of my favorites by the band and I hear it weaker than the two it sits between. But JY's hard rocking opener 'Put Me On' and Dennis DeYoung's slick 'Jennifer' provide some highlights. Crystal Ball is, of course, Tommy Shaw's debut with the band and he wrote the title track. It's a signature tune, and foreshadowed his excellent songwriting abilities for future albums. Side 2 kind of wheezes out even though it has progressive rock ambition. Regardless, Crystal Ball has aged well for me.

Ownership: 1976 A&M (LP). Lyric inner. 

1978 (first listen); 7//05; 10/14/21 (review)

Return to Paradise (1997) 

This is a double live album that heralds the return of Styx to south Chicago. It features four out of five of the key protagonists, with only John Panozzo missing (who had recently passed away). This is one of those live albums that prove the band know how to play the songs they wrote. And nothing else. No improvisation, alternate arrangements, or different energy levels. Essentially one is hearing a play list. There are a couple of newer tracks thrown in, but given they aren't anything special, it's hardly a reason to buy it. Not for me.

Source: 1997 CMC (CD)

3/4/21 (review)

Cyclorama (2003) 

I've been long curious what Styx sounded like after Kilroy, but never took the chance on buying one of their new CDs. So the thrift shop is perfect for just this kind of album. Based on the contents of Cyclorama, it's a good thing I hesitated. Sometimes you wonder why they even bother with new albums. They should just do the Oldies Tour thing and hang it up. The magic of songwriting is gone. In Styx's case, the personnel is mostly gone too. Styx without Dennis DeYoung is already stating it's a different band. Drummer John Panozzo and original guitarist John Curulewski are long RIP. Bassist Chuck Panozzo has had serious health issues for many years, and only does cameo's for the band. Original guitarist James Young is still on board, and he was the hard rocker of the bunch, but unfortunately he takes a backseat role on Cyclorama. That leaves Curulewski's 1976 replacement Tommy Shaw as the de facto leader of Styx. And it pretty much sounds like a Shaw solo album with guests. Mostly this is boring folk rock or ridiculous ass-kissing AOR music (there's even a song with a title similar), without any decent hooks. The latter was irrelevant by 2003 anyway. There are a couple of good tracks, namely 'These Are the Times', and if you hang in to the end, 'One With Everything'. This last track shows Styx in full-on progressive mode, even more so than their classic 70s albums. More of that would have resulted in a late era classic. In the end, I can only rate the album as a disappointment. It should have been much better really, as they had the freedom to do what they wanted.

Source:  2003 CMC (CD)

3/3/21 (review)

 

Man of Miracles (1974)

Man of Miracles is the 4th album from south Chicago's favorite sons Styx. Objectively speaking, one could make a strong argument that this was Styx's weakest album of the 70s save the awful Cornerstone that closed off the decade.

Despite featuring a cover and title that indicates a prog rock extravaganza, Man of Miracles shows Styx splintering into two entirely different groups. The two guitarists - James Young and John Curulewski - appear to be moving Styx into a good times boogie rock club circuit band. This is evident by the two opening tracks 'Rock & Roll Feeling' and 'Havin' a Ball'. Later on Young bonks the 'A Man Like Me' and the whole band double dribbles the cover song 'Lies'. It's only later we see Young redeem himself with his trademark hard rocking 'Southern Woman', a blueprint for what was to come from him.

Oddly it's the much-maligned Dennis DeYoung that holds Man of Miracles together and saves it from a complete disaster. 'Golden Lark' is a beautiful ballad, one of his best, and among the album's highlights. 'A Song for Suzanne' promises similar, though DeYoung always had this gnawing habit of injecting a Broadway play type mentality into his songs. 'Evil Eyes' and 'Christopher, Mr. Christopher', while not highlights, are certainly well penned tracks. This all leads to the title track, and the one place Styx seems to be operating as a cohesive unit. Co-written by Young and DeYoung, 'Man of Miracles' demonstrates the best of Styx - James Young's heavy rock nature juxtaposed against DeYoung's full onslaught of proggy keyboards. It was an indication of what was to follow, and Styx were to become a force thereafter. If it weren't for the belated two-years-in-the-can hit 'Lady' suddenly thrust upon the FM radio airwaves, one could easily see Man of Miracles as Styx's swan song. But they caught a break and never looked back. Great things were to come for the boys from South Chicago.

Ownership: 1974 Wooden Nickel (LP); 2005 Hip-O Select - The Complete Wooden Nickel Recordings (2xCD). Encapsulates their four album run on RCA's Wooden Nickel imprint. Comes with liner notes and full album details.

1978 (first listen); 5//05; 4/3/19 (review)

4/3/19 (new entry)

Antonio Carlos Jobim ~ Brazil

Wave (1967)

Classic Bossa Nova album with soothing acoustic guitar, flute, strings, trombone, etc... Some would even call this easy listening music, but there's far more at play than that would imply. It's easy on the ears that's for sure. If only Astrud Gilberto was singing, but nonetheless, an excellent example of its kind.

Ownership: 1967 A&M / CTI (LP). Green photo gatefold original (Monarch press, not in Discogs today). Most of the covers have a red photo.

2/4/25 (new review)
 

Tide (1970)

Nice Half-Speed Master version of Jobim's 1970 instrumental Bossa Nova album. It's for sure cocktail / saccharine but it definitely soothes the nerves. And Jobim is the author of Brazil's most famous song 'The Girl From Ipanema', which makes its presence here as well. My Bossa Nova collection is still pretty light, so a keeper for now.

Ownership: 1983 A&M (LP). Gatefold. Beautiful reissue with superb sound. Part of A&M's Quiex series.

1/13/21 (review)

12/10/21 (new entry)

Titan ‎~ USA ~ Brooklyn, New York

Titan (2006)

Titan is an interesting band. They released only three albums with the middle one being the piece de resistance. They closed off their career with a sincere attempt to capture the stoner audience, much to my disappointment. In reading other's reviews, many feel the second one is also stoner, but I say no way. But what about the debut? On paper it looks like a home run. Three long tracks, and they're all titled in German. No one calls this a stoner album but rather a retro Krautrock masterpiece. Unfortunately it lacks the compositional drive and varied instrumentation of Raining Sun. Mostly this is long form cosmic jamming, of the kind the Japanese usually peddle. Acid Mothers Temple and their ilk. It's not as nauseous as those bands can be, as I wouldn't claim it be a non-stop barrage of guitar noise. Seems one of these long tracks would serve well on an album, but not all three doing the same thing. And with a record collection of real deal early 70s cosmic Krautrock at my disposal, this one become superfluous.

3/28/07 (first listen); 2/21/25 (review)

Former ownership: 2006 Paradigms (CD)

Sweet Dreams (2010)

The album prior to this, The Raining Sun Of Light... is, in my estimation, one of the greatest modern interpretations of progressive Krautrock one can find in the market (see below). Brilliant in every way, I was very excited to obtain the follow up upon release. And was disappointed. In listening to it for the time since last night, I settled in on a -1 (in this case I rated it too high to begin with). But musically it's still quite good, I'm just not fond of the production and tones. It's as if they felt the need to "stoner it up", which was entirely unnecessary.

Former ownership: 2010 Relapse (CD)

2010 (first listen); 11/20/23 (review)

   

A Raining Sun Of Light & Love, For You & You & You... (2007) 

I remember being tipped to this band back when it first came out 11 years ago. I was as skeptical as ever. A Brooklyn based "stoner" band allegedly playing in the Krautrock style. Sorry, heard that one before fellas. And what one would usually get in that scenario is bonehead chords of fuzz, a on-his-6th whiskey vocalist, 4/4 pounding drums, and hopefully some cartoon art of dragsters, pinball machines, and disproportionate top heavy females with lots of tattoos. Yea, we're hipsters from Brooklyn! Nya-nya. In any case, enough recs came my way that I reluctantly pulled the trigger...

...And I became a Brooklyn stoner hipster on the spot.

After a few listens in 2007, I filed it away with a high grade, and haven't revisited since. Here we are, and I somewhat dreaded it. I probably was just in the mood for it or something like that. Tastes change and evolve over the years right?

I like it even better now. If for nothing else on the album, it's hard to imagine anyone who is into the early 70s proto prog sound not to be absolutely floored by 'Annals of the Former World'. It is absolute perfection in every sense of the word. It constantly changes, has haunting vocals, is heavy as all get out, has some absolutely incredible Hammond organ, is trippy in the best Krautrock style, and the guitar solos are sublime. Maybe the best track I've ever heard from modern times that encapsulates all that was great about 1971. The closest comparison to my ears is Nektar's Journey to the Centre of the Eye... sped up and then cranked to 11.

'Hashishin Ohel' is largely a continuation of the above, with a bit of a noisy ending, but overall is brilliant in its own right. 'Obelisk Orbit Overdrive' is a bit more tedious, but certainly not a poor track, just in comparison with what came before it, one would have hoped for a bit more clarity and editing.

The album ends in a very interesting fashion, with 'Aufruf der Pilz'. As its title hints at, this is a pure play Krautrock attempt. Now I would imagine the gut reaction here, especially for hipsters, is to go right for the Neu! comparison. I don't think so. Actually to me it sounds like the Ashra power trio years of 1979 to 1980 - especially on the archival tapes where the guitars are decidedly more psychedelic. An excellent rendition and very melodic to boot.

These guys were plugged in perfectly at the time. I have two others in the collection from them (before and after), but I don't recall those being quite at this level. And then they sadly disappeared.

Ownership: 2007 Tee Pee (CD)

4/20/07 (first listen); 6/6/18 (review)

6/6/18 (new entry)

Roadmaster ~ USA ~ Indianapolis, Indiana

Fortress (1980) 

The on-a-budget Hipgnosis styled front cover indicates that this final album might bring a bit more artistic acumen to the proceedings. Though to hedge their bet, they still had to have the requisite smiling band photo on the back, though more subdued than prior. All of Side 1 proves they have no intention of doing anything but trying to write a hit song. I feel bad for them, because they just weren't any good at it. I'm sure Mercury realized they had a loser in their ranks and had to cut bait quickly. Seems they gave Roadmaster more artistic freedom for the flip side so B1 and B2 are very good hard-edged AOR tunes. B4 even has a Mercury alum Permanent Waves era Rush feel. In the end, the album is no better or worse than Hey World. What a lost opportunity for the guys from Indianapolis. They could have been legends as they had the right sound and the financial backing. Instead they are $5 record store bin specials with patrons asking "who were Roadmaster?"

Source: 1980 Mercury (LP) 

2/11/25 (review)

Hey World (1979)

As I mentioned on my review for Sweet Music, Roadmaster's ultimate goal (I'm sure) was to get signed to a major label, something they accomplished with Sweet Music. They had the right sound for the era, and one could easily see them challenging the likes of Styx and REO Speedwagon. Mercury seemed to be "all in" with the group from Indianapolis, going so far as to put their logo on the label itself, not even the Scorpions got that treatment! For whatever reason in the late 70s, front or back covers needed to show the band members happy and smiling. No more pensive, menacing, or arty covers from the earlier part of the decade. We see this same phenomena in the soul / disco world too. Anger was out, good times partying was in. Since Roadmaster was all about making the big time, I'm sure they were willing participants in the cover of Hey World. Which today signals a lame album awaits the listener. And there's some truth in judging a book by its cover. The album starts off promising enough with a strong synthesizer presence recalling Styx or even Starcastle. But what becomes apparent quickly is they had the right sound but no songwriting skills to back it up. They try for hooks but they're not memorable and they become a slog to hear after a while. Their proggy side finally comes out on B3 and B4, and there's some mellotron throughout the album. It seems this is where Roadmaster was most comfortable, but never allowed themselves to branch out in fear of losing their corporate status. And I'd guess Mercury felt the same way. They already had Rush to endure, and that was one prog band too many for the executives. If only they knew how history would turn out.

Source: 1979 Mercury (LP)

2/3/25 (review)

Sweet Music (1978)

I find Sweet Music to be more cohesive than the scattered debut. By 1978, the Midwest pomp sound was well defined, and Roadmaster clearly signed up for their shot at the big time. Proggy Mini-Moog synthesizers and mellotron are offset by the hard guitars, with the higher pitched vocals going all-in for the radio charts. Most of the songs are in line with the familiar late 70s FM radio fare. The reference band that becomes clearer on each subsequent listen is most assuredly Styx. A1 and all of side B demonstrate this and prove that Roadmaster had a few good ideas up their sleeve, but without ever leaving a chance to possibly land a hit song. A5 is a disco track, but it's the good kind. A2 is the obligatory JY styled hard rocker. I'm not fond of the boogie rock on A3 but otherwise every song here satisfies on some level. Shooting Star is another reference group. They were professionals through and through, and getting signed to a major label was I'm sure their ultimate goal, which they achieved (this was the album that got them signed to Mercury for a three album run).

AOR music, like the kind Roadmaster peddle, has been fashionable in the collector circuit for many years now. Roadmaster is a bullseye for the type of sound being sought after. So why are they so cheap then? Likely they sold an excellent amount of copy, even as a small label release. You don't see them in the wilds much (at least out here in the west), but there's plenty of inventory online. If you dig that 1977 to 1980 American FM pomp / AOR sound, this album is for certain one to obtain. I consider this the best of their quartet of albums.

Ownership:1978 Mercury (LP); 1978 Village (LP). The latter is sealed. 

4/9/23 (review)

Roadmaster (1976)

Roadmaster were a band from Indianapolis who managed to put out four albums from 1976 to 1980. There's no question that the group had FM radio on their mind when recording these tunes, and I can guess that they were probably quite popular within the regional club circuit. The opening two tracks here are the kind of AOR I think many of us would have been glad to hear during the era - and there's some great melodies, guitar, and synthesizer work at play here. 'AM-PM' is the obligatory blues track that doesn't inspire. 'Who Can Sing Like Fat Boy Do', despite the borderline PC police title, is a nice hard rock track and refreshingly a bit odd. And sure there are throwaways here that are really quite atrocious - and they all have titles that give the game away (hint: They contain the words 'Baby' and 'Love'. Yea, it was 1976 after all). But in aggregate not a bad way to spend 40 minutes, and if you're a "local AOR" collector, then this one goes into the must-have column. (2025 update: I'd like one more go at this. I'm sure I'll find the original vinyl at some point in the wilds).

1/1/19 (review)

1/1/19 (new entry)

Deuter ~ Germany

Deuter started his career in Krautrock territory before becoming one of the pioneers in New Age music with fellow Germans Popol Vuh. Over time his music went from transcendental to sleepy to saccharine to a caricature of what one expects of a 21st century new age old guy hippy. I still have a few of his 1970s albums to add in here.

Atmospheres (2008)

To me this sounds like music you play to assist in getting a baby to go to sleep. This is so far beyond my interest level in anything to do with electronic music. He uses all the proper language of spirituality, of the Earth, and landscapes, etcetera... I need to take a wide berth on any of these late era Deuter albums, lest I feel compelled to write a not so favorable review.

Source: 2008 New Earth (CD)

2/20/25 (review)

Terra Magica Planet of Light (1995) 

I found myself being pleasantly surprised at how much I enjoyed Ecstacy, an album Deuter closed off the 70s with. However I found Cicada, only three years later, a total snoozer. So now we're deep in the 90s after Deuter moved to Boulder, Colorado. Can it possibly be any good? Of course not. It's almost a caricature of what we call New Age music. Fluffy digital synths, bamboo flutes, Tibetan bells, pan cultural prayers, bla bla bla... and... "please buy my latest CD!". So as to afford the expensive tea. It's certainly not an unpleasant listen, but if I were to code a new age album on the computer, this would be an early result. 

Source: 1995 Higher Octave (CD)

1/25/25 (review)

Cicada (1982) 

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

Source: 1982 Kuckuck (CD) 

5/12/24 (review)

Ecstasy (1979)

I quite liked this. Not as syrupy new agey as I expected. Actually it works well as an electronic album from its era (late 70s).

Ownership: Kuckuk (CD)

4/8/23 (review)

D (1971)

Deuter's debut is very much an "early days" experimental electronic, proto-New Age album. Operating more or less in the same territory as early Popol Vuh and Cluster. Deuter was to become far more tranquil as the years wore on, but here he still has some angst to purge. I find these kind of albums very refreshing, almost without peer in terms of sound.

Ownership: 1998 Kuckuck (CD)

1996 (first listen); 4/15/20 (review)

4/15/20 (new entry)

Focus (& related) ~ Netherlands

Focus are the first continental European progressive rock band that I got into, having found Moving Waves in early 1984 during my freshman year of college. Used records were a new concept to me then, and opened up an entire world that I was previously unaware of. For that alone they will always have a special place in my collection. This page will also includes artists and groups associated with Focus.

Brainbox (1969)

Here's an album I first discovered in my earliest forays into the continental European underground. Not long after discovering Focus, I found a US Capitol version of Brainbox. This would be the summer of 1984 IIRC. Kept it for about 10 years and sold it back into the marketplace. Hadn't thought about it since when I ran into this sealed copy at a Denver record store for dirt cheap ($4). That's just a good flipper if nothing else. But of course I wanted to hear it again first. The opening original composition reminds me a lot of Ahora Mazda on their fine sole album. Great flute from Tom Barlacher (Tom Barlage of Solution) and guitar from Jan Akkerman. B2, B3, and A1 are your throwaway cover songs of blues and folk. They're all short, under three minutes each. 'Scarborough Fair' and 'Summertime' are both excellent choices for cover songs, and Brainbox's arrangements are excellent in each case. This leads us to the other original track, the 17 minute 'Sea of Delight'. It's a very good example of the long form jam that was just beginning to appear on the progressive rock horizon. Some of it is filler which includes a drum solo, but there's also some fine jamming here with a few thematic shifts. I'll keep this one for the memories.

Ownership: 2021 Music on Vinyl (purple LP). If I find a nice Capitol copy out in the wilds (it's not a rare or expensive album) then I'll probably swap it out. This LP reissue is a brick with no other information or bonus tracks. I could care less what color the vinyl is. Black always works for me. 

6//1984 (first listen); 1995; 2/12/25 (review)

Hocus Pocus / Hocus Pocus II (1973)

I've recently decided to pick up singles of tracks that I already have on LP, and just store it with the LP. No need for me to discuss the A) side as it's a classic and one of the tracks that got me into the entire continental European prog scene in the first place. But I didn't have the second version, which is a bit faster and includes more improvisation, as little as it is.

Ownership: 1973 Sire (SP)

1/28/25 (review)

Moving Waves (1971)

This was the very first Euro Prog album I'd acquired, and as such, is very foundational to my overall music development. Despite having owned this for almost 40 years, I enjoyed a +1 listen. It's easy to be distracted by 'Hocus Pocus' which is close to a novelty hit, though that's an unfortunate stigma since there's some great hard rock buried in that tune. But the rest of the album is excellent symphonic prog, especially side 2.

Ownership: 1971 Sire (LP)

Anonymous adds: "I bought the Focus Anthology box a couple of years ago and it contains two fantastic live versions of Eruption (37 and 46 min!)"

1//84 (first listen); 1995; 2/1/23 (review)

Jan Akkerman - Profile (1972)

Profile is a somewhat bizarre solo album from Akkerman, coming at a time when his band Focus was at its commercial peak. One side is mostly sleepy acoustic numbers, though well done and a certain respect should be appropriately afforded. 'Blue Boy' and 'Stick' point to the earlier blues based Talent For Sale, but are livelier and much more kinetic. 'Maybe Just a Dream' sounds like any one of the Focus 'x' instrumentals. And then there's the side long 'Fresh Air'. Which sounds like Brainbox playing 'Anonymous II' from Focus 3, and is quite the exhilarating psychedelic tour de force. Akkerman's guitar is superb here, and is perhaps his finest moment on record.

Ownership: 1983 EMI (LP)

8/26/84 (first listen); 7/27/16 (review)

Focus 3 (1972)

Focus 3 is a relatively well known title that the UMR enthusiastically recommends. Focus were at the peak of their career here with Akkerman's blazing solos, and Van Leer's flute and organ forays. 26 minute long jam misspelled 'Anonymus 2' needed to be trimmed down by about half, with the annoying drum solo sucking the life out of the disc by the end, but still remains an excellent album overall.

Ownership: 1972 Sire (LP)

9//1984 (first listen); 1996; 3/19/10 (review); 11/4/19

3/19/10 (new entry)

Citizen Cain ~ England / Scotland

Somewhere But Yesterday (1994)

If Marillion copied Genesis and brought them into the 80s, then Citizen Cain copied both Marillion and Genesis and brought them into the 90s. Though Citizen Cain were part of the original New Wave of British Progressive Rock movement, they didn't get going until the 90s. Which is too bad really. As I've mentioned before, the term "neo prog" became a misnomer during the 80s, and was shorthand for "corporate AOR Arena Rock". All the groups participating in that scene fell prone to the allure of mucho dollars, and most did not come close. And lost their artistic credibility because of it. When IQ reemerged with Ever, it dawned a new era of excellent neo prog that is with us today. Citizen Cain is very much in that same oeuvre. Had they released Somewhere but Yesterday in 1987, it would be hailed as a modern classic. But it just got lost in the prog shuffle and most of my running set had nothing to do with bands like Citizen Cain in the early 90s. It wasn't until almost 30 years later I heard them at all.

When you have a lead singer named Cyrus in a neo prog band then you can expect a lot of singing, and that remains true here. Yet somehow it still feels like a primarily instrumental album. Lots of negative critical forensic reviews out there discussing the nuances of his voice against Gabriel and Fish. People think too much. Personally I think he does a great job, as does the band at emulating the early Genesis sound with the upbeat 80s styled groups like IQ. There's a lot of music to digest here, but I heard it pleasantly throughout. While I have no intention of loading up on Citizen Cain, I certainly would be interested in hearing all their works at some point regardless of reputation.

Ownership: 1997 Cyclops (CD). With lyric booklet (extensive) and recording details.

6/2/22 (first listen); 2/15/25 (review)

2/17/25 (new entry)

Santana ~ USA ~ San Francisco, California

One of the most influential guitarists in history, Carlos Santana assembled a high quality group of multi-cultural musicians. Coming from the Mission District of San Francisco, Santana was groundbreaking in many ways. But what really makes Carlos special is that he took his fame and fortune and made a go at high art. His "spiritual jazz rock" phase is nothing short of incredible, before settling back into corporate America. And mostly losing his way ever since. There's a religious metaphor in there I think. How ironic. More updates to come eventually.

Welcome (1973)

Welcome is Santana's 5th album and was released smack dab in the middle of his spiritual jazz rock phase. Along with Caravanserai, Love Devotion & Surrender, and Lotus, it almost defies belief that a major "pop" artist such as Santana would achieve such great heights with decidedly non-commercial music. Which is the primary gripe of the naysayers even today. Intense guitar heavy jamming is not for everyone, and it's understandable that he lost a good portion of his primary audience. My view is the polar opposite. The older I get the more I appreciate Santana and other artists who followed his way. Welcome is not only a jam heavy guitar and organ extravaganza, but it also features some beautiful songwriting. I love the Leon Thomas sung songs, completely at odds with the rest of the album, yet fits the elevated spirituality that was Carlos Santana in 1973. There's the obvious great with tracks like 'Flame-Sky' and the title track. And then there's the beautiful great with 'Love, Devotion, & Surrender', 'When I Look Into Your Eyes', and 'Light of Life'. They are not mutually exclusive. Yet another Santana album that gets a +1. For whatever reason I didn't buy this album back in college with the rest of them. My mistake as it's one of their best. The CD features one more great song ('Mantra') that is not to be missed.

Ownership: 2006 Columbia Japan (CD). Papersleeve edition. Part of a box set.

2005 (first listen); 2/16/25 (review)

Beyond Appearances (1985)

I find it interesting that Carlos Santana never let go of his iconic psychedelic sound. He really could have been the tip of the spear at any kind renaissance of high quality psych and fusion in the 1980s. But he decided to play ball and follow the trends of the day. So most of the songs are boring, with cringeworthy 80s digitalitis sounds. ...and Carlos' beautiful tone when it's his turn. Oh well, he continued to stick with this formula, and it finally paid off for him commercially about 15 years later. 

Source: 1985 Columbia (LP)

7/31/24 (review)

Santana (1969)

The birth of the movement. Latin Rock remains one of my favorite subgenres of music, and I owe a ton of gratitude to a one Carlos Santana. A fantastic guitar player who had the vision to meld Hispanic culture with the ongoing psychedelic and hard rock movements. His group and extended family spawned many imitators, some maybe even better than anything Santana released. While Carlos deserves heaps of praise, the X-factor in the group has to be Gregg Rolie. His soulful voice, songwriting ability, and Hammond organ work is at the highest levels. The juxtaposition of bluesy hard rock soul numbers like 'Shades of Time', 'Evil Ways', 'Persuasion', 'Treat', and 'You Just Don't Care' against the percussive Latin rockers 'Waiting', 'Savor', 'Jingo', and 'Soul Sacrifice' is what makes the debut so special. Rolie was to Carlos what Roman Bunka was to Christian Burchard (Embryo). Taking a great band to a timeless one. Even though I've known this album for well for 40 years, I still managed a +1 listen out of it. It now resides in the very top tier.

Ownership: Columbia (LP) later 70s press; 2006 Columbia Japan (CD). Papersleeve edition. Part of a box set. Contains three bonus tracks taken from the Woodstock concert.

1983 (first listen); 6/13/16; 11/26/23 (review)

Festival (1977)

About a year ago I had a chance to revisit Moonflower to great results. Would I have a similar experience here? And the answer is a resounding yes. While it doesn't have a jaw dropper like 'Europa' (what does?), Festival is more consistent. The first three tracks are Santana at his absolute best, mixing in his purposely naïve view of the world with molten licks. And so it goes, with his usual mix of ethnic and harder rocking tracks. He pretty much let go of the funk that permeated Amigos. There are two tracks that are too Vegas-y for me 'Give Me Love' and 'The River', which still leaves 36 minutes of great music.

Ownership: 1977 Columbia (LP)

1987 (first listen); 8/9/21 (review)

Amigos (1976)

Funny about these albums sitting in the collection forever, that go back to childhood, and yet I couldn't tell you squat about it. I only kept the LP all these years because of 'Europa'. More on that one in a minute. What of the other six tracks, are they really that bad? No, not all actually. Well, save one.

'Dance Sister Dance' is a hybrid classic Santana Latin number with some creeping funk influence. The latter half of this song jams quite well. Which then segues nicely into the album's hidden gem 'Take Me With You', which sounds like early Santana ripping and roaring, until it puts the brakes on for a nice journey on The Love Boat. C'mon now, the girls are pretty and this is the perfect soundtrack. 'Let Me' isn't so bad really. Yes, it's got that Herbie Hancock Clavinet thing going and I could probably go without the "soul sista" chorus that were annoying even back then... and especially now. But Santana is there to lay down a killer lick or two, so it's OK.

'Gitano' is Amigos' contribution to Latin music. There are times when it seems it's about to take off into another killer jam, but it stays within the rails too much. 'Tell Me Are You Tired'. (OK, if you insist). This one is a bit too much funk pop for me, with more soul sista chorus, but not egregious on the whole.

This leads to 'Europa', which is just simply one of the most beautiful - and powerful - instrumentals ever committed to tape. Been hearing it for over 40 years, and I still get goosebumps throughout the entire song. Had it only been 20 minutes.... In any case this leads to...

'Let it Shine', the track that does everything in its power to desecrate the previous - that what was once holy and sacred. I mean I can deal with a little boogie woogie now and then, but seriously this is just plain awful. OK, let's just forget it ever happened. Nothing to see here.

And so with that - an album that is far better than I ever recalled. Glad I kept it.

Ownership: Columbia (LP). 80s pressing

1989 (first listen); 11/30/07; 9/21/18 (review)

9/21/18 (new entry)