Between ~ Germany

Dharana (1974)

Dharana is the 3rd album from Between, an international combo based in Munich. The music here can generally be described as World Fusion, a catch-all tag that incorporates various folk traditions, electronic, new age, and jazz. You really have to be in the mood to hear an album like this, as it's very soothing and tranquil. Put away the jam kit kids, this ain't no Krautrock! I'd say on Dharana, Between is operating in similar fashion to same era Popol Vuh and Deuter, though very different than both in aggregate. Detailed liner notes point to Greek, Buddhist, Japanese, European (in general), and Indian tradition as references. Robert Eliscu's oboe is the most prominent lead instrument, though I find Peter Michael Hamel's trance filled organ to be a highlight. Two conga players ensure this isn't a static affair.

Ownership: 1977 Wergo (LP)

Other albums I own and need to review: Einsteig; And The Waters Opened

3/26/06 (acquired); 5/27/25 (review / new entry)

Z-Axis ~ USA ~ Atlanta, Georgia

Concatenations (2006)

In a total coincidence, this album was randomly chosen immediately after Gigur. Though I initially received it a few months later after my self-imposed musical exile. Meaning I do have a review for this one! And here it is:

---10/30/06

Z-Axis are a space rock, post-rock group from the Atlanta area, who pull out a few surprising twists and turns on Concatenations, their long awaited follow up album to their 2000 debut. Influences range from Ozric Tentacles to Tortoise to classic Krautrock and everything in between (and, well, beyond too). Opening with 'Out of Hand', a straight ahead guitar based groove rocker, with mellotron and other electronics floating on top, and crazed narration in the "Dawn of Brainticket" mode. Though, in this case, we get some good old fashioned southern preaching on the evils of sexual flirtation, verse the LSD soaked paranoia schizophrenia of Switzerland’s finest. Yea, a cool opening is right! The lively Whitewater follows with a catchy guitar melody and laid back mid-section with spacious keys. Next up is the nine minute triptych 'Too Clever By Half', and like all good multi-part lengthy tracks, mixes quiet meditative sections with high energy guitar-centered rave ups. 'The Grey Neighbors' and the continuation on 'Dry Land' are a personal favorite, due to the trance inducing nature of the percussion, mellotron, and acoustic guitar combined with a synthesized harmonium sound. They're almost in The Spacious Mind territory with this block of tunes! 'She Had to Go Live With the Lizards' returns to the female narration idea with a great fuzz solo, and odd Fish like vocals, which somehow fits here. 'Put Out the Cat' has a 1980s retro-wave urgency to it (who remembers Mason + Fenn's Profiles?) and is probably the most pure post-rock track on the album. Majestic, piano driven 'Columbia Dam' closes in grand fashion with featured guest flute (she should be a full time member!) and recalls Tangerine Dream around the Force Majeure album. I’m not one to do track by track reviews (and I did skip writing about a couple), but Z-Axis have no one particular style and run across a lot of familiar territory. The aggregate, though, is entirely unique. You know, the sum and parts and like that… A good album.

---5/27/25

And that was my last listen. I didn't even realize I owned it until I found it buried in my cd-r books (i.e. long forgotten). The album never received a release in a more stable physical format. This was to be their last album as it turns out and I still haven't heard their 2000 debut. I suspect the mellotron is sampled as it sounds too smooth to be real. I checked the Planet Mellotron site but he didn't have it listed. In any case my review above is detailed, and I hear it similar today. Worth keeping.

Ownership: 2006 Gnosis (cd-r)

10/30/06 (acquired / review); 5/27/25 (update / new entry)

Gigur ~ Mexico

Fin del Tiempo (En Tus Manos) (2005)

I could have sworn I wrote about this album when I received the CD, as I was writing a lot of reviews in 2005 / early 06. I think it arrived just as I was burning out hard (I recall walking away from music entirely for a couple of months to regain my enthusiasm). Well no time like the present and here is my second listen, some 19 years later. 

The album starts off in a similar mode to Fripp & Eno, with atmospheric guitar and electronic music. It curiously moves to vocal rock for the title song, and then onto more space rock realms. I'm often reminded of Djam Karet, though there's more than a few references to fellow Mexican space rock travelers like Humus and Frolic Froth, especially in the heavy sections. Ivan Tamez is the primary force behind Gigur and his guitar dictates the direction of the music. He achieves a wonderful tone throughout. And does a very good job of adding melody to his solos.

Ownership: 2005 Conarte (CD). Oversized tri-fold digipak with a 19 page booklet pasted in. Very elaborate.

4//06 (acquired); 5/26/25 (review / new entry)

2025 Metal Journal Vol. 1

Juglans Regia - Controluce. 2005 private (CD). One of the more unusual thrift shop finds, though it's clear once again this was part of Independent Records closing. Their CDs were strewn about Colorado Springs and could be found at various thrift shops last year (I bought a huge pile of them that's for sure). All charging from 50 cents to $3 each. Fortunately this came from one of the cheapest rate stores. I had a vague notion of this band's existence but can't remember why. Perhaps an old Syn-Phonic catalog or a mention on Progressive Ears. They have a page on ProgArchives and it's there we learn that Juglans Regia started as a traditional heavy metal band but became influenced by the dark side of Italian prog. They name checked Biglietto per L'Inferno. That's a heavy hitter and something that certainly would have caught my attention, so maybe that's what I remember. Right away we're introduced to a metal tone, though they don't riff according to genre norms. There are many post-1990 Italian prog bands that bring a little metal with them, most notably A Piedi Nudi, another band with a clear affection for the darker side of Italian prog. But that's where the association to progressive rock ends. Their debut apparently featured a keyboardist, and that element is clearly missing here. And without the presence of some psychotic flute, comparisons to Biglietto per L'Inferno become frivolous. The rhythms are very rigid and clearly geared for standard fare rock. Over time it becomes clear that the Stoner genre is more present than any other. The guitarist mixes his crunch with fluid solos, and at times he can be expressive. Put him in a different setting and I think he'd shine brighter. The only prog guy here is vocalist Alessandro Parigi who sings in Italian and very much sounds like he's singing on a neo Italian progressive rock album. Apparently they've released a newer album (2023) with a keyboardist in tow. Comes with positive reviews and ratings. Probably won't find that one in a thrift shop. (May)

Betrayel - Offerings. 2020 Divebomb (CD). I bought a huge pile of sealed CDs directly from Divebomb a couple of years back, but this one was an open copy. So this will be my first foray into that purchase. Betrayel were a thrash metal band from Fresno, California that released two cassettes between 1986 and 87 and off to the former-metal-band desert they went. Years later the good folks at Divebomb reissued those and a raftful of other archival material on what looks like a well researched release (I haven't heard it and it's not in the pile I grabbed). The enthusiasm inspired the original quartet to reform and release a new album. Figure these guys are close to my age, so probably were in their mid 50s at recording time. One cannot accuse Betrayel of betraying (had to do it) the 80s thrash aesthetic. But if you don't do more with the concept, then it becomes yet another 80s sounding thrash album, which is why these albums tend to rate much lower than the originals. From the first note to the last I was reminded of Exodus first with a few nods to early Testament. Especially the brusque vocals of Chris Campise and the gang chorus', never a favorite motif for me. I like the guitar tone and also appreciate the solo style which is more melodic than shred. A good effort but without creating new paths, Betrayel is treading the same old ground verbatim. It's worn out. (May)

At Vance - Chained. 2005 AFM (CD). Yet another German power metal band from this 2016 metal buy (they weren't all like this fortunately). A lot of commercial aspirations for this title it would seem. Almost like a more metalized version of Whitesnake. Sounds fairly generic to me. This was their 6th album and I'm reading it was a bit of a drop off from prior works, though I might not notice the difference. The style exists within a tight framework so I'm not sure where there's room for innovation. This is a long way from the tech thrash bands of the late 80s and early 90s, which was totally random, or so it appeared. Plenty of classical rips to endure here as well. (Apr)

Seventh Wonder - Waiting in the Wings. 2006 Lion (CD). And we're back into that 2016 collection buy that I seem to tackle once a year (see Dream Quest below). Maybe this will be the year we get through them all. We'll see. Want to guess what this sounds like? Yep, more Dream Theater worship with a European power pop sensibility. These albums follow a pattern and they are instantly recognizable. By default they will nail a sequence or two that I find interesting. This isn't easy music to play and the band are to be commended for attempting the complexity. Problem for me is that it was done pretty much exactly in the same style a decade prior. But if you can't get enough of it, here's one more for you. Seventh Wonder are still around and have six studio albums and one live effort. (Apr)

Morbid Angel - Altars of Madness. 2018 Earache UK (CD) (1989). I remember Morbid Angel when they first broke into the metal scene. Though I was far removed from most contemporary popular music trends by 1989, I did keep an eye on metal, especially thrash and some of the wild techy albums coming out of that scene. Morbid Angel were part of the next wave of extreme music, that of death metal. I never liked the vocals of that subgenre too much, sounding cartoonish to my ears, so most of the music sort of passed me by. Lately I've been drawn to some of the more extreme thrash bands from the 80s like Kreator and Destruction, so I'm thinking that this might be my time for Morbid Angel. I found this CD for $1 at a thrift shop in the Kansas City area two years ago but it ended up in the "eventually will get to it" pile. Probably for the best in this case. So how did Altars of Madness do? Hmmm. I didn't let the vocals bother me, and they didn't honestly. What of the metal? It has the problem a lot of these type of groups have. They go too fast and there's no separation in the music. Blast beats. It's a blur at times. I want more crunch and inventive riffing. More meter changes would have helped with the pacing as well. Not to say they don't do that on occasion, but not enough for me. Looking at the ratings this is considered a landmark album for the style and I can appreciate that. For 1989 this is some pretty radical music. But it wasn't for me then, and it still isn't. But I do appreciate it much more than in the past. Interesting to note that despite being from Florida, the album was only released on LP in England. A year later it was issued as a CD and cassette here in the States. (Apr)

*Apocalyptica - Live in Helsinki St. John's Church. 2023 Odyssey (2xCD). Numbered. Pulled this out of a local record shop for a buck. Brand new. I'll take that! Honestly this belongs more to classical than metal, but for journal purposes, I'll put it here. My synopsis: I have an idea. Let's get Starker, Du Pre, and Piatigorsky on stage, along with a percussionist, and ask them to play the music of Univers Zero. With the atmosphere and riffing of Candlemass. That sounds like a good plan. (Feb)

Kick Axe - Vices. 1984 Pasha / CBS (LP). Picked up dirt cheap at a local vintage shop's closing sale (Feb). Saskatchewan's finest debuted with Vices on the same label that housed Quiet Riot. And that's a good guidepost too as for the sounds within. If you're going to do this kind of metal, then you might as well do it right, and Kick Axe goes to the top of the glass - I mean class... Very nice heavy metal sound they have here. Thick and wedgy, no mistaking this for hard rock. And the tunes aren't that bad at all. They even throw in a couple of unexpected twists to keep the three people happy that would be interested in hearing such a thing on an album like this. What holds Vices back is the style itself. There's only so much you can do within the confines of anthem metal. About half the album holds interest and the other is like a repeat of the same. Kick Axe - well someone had to take that name. Might as well be these guys. This is a much better album than you would initially think given the premise. I thought about keeping it, but it would start at the bottom of the collection rankings. No point in that.

Ratt - Invasion of Your Privacy. 1985 Atlantic (MC). From a friend's garage sale last year. I found this on LP five years ago during the pandemic, and decided to grab my profit instead of keeping it. And since I didn't document the listen, thought I'd try this tape out and get that done as well. I was pleasantly surprised that I enjoyed their EP tape, pulled from the same sale. Ratt were yet another variation of the Motley Crue sound and the rest of them from Los Angeles. More metal than hard rock, though hardly cutting edge. Perhaps the heavier side of Van Halen circa Fair Warning is another reference. Feminine friendly, so when you go that route, you better bring some songwriting to the studio. No technical superiority to hide the lack of those skills. I'd suggest the music is similar to that debut, though without any noticeable progress. I still haven't heard Out of the Cellar (well at least in 40 years), their recognized classic. I never get tired of seeing the megababes of the 80s, of which the cover features (she was a Playboy model). Today the woke children of RYM suggest in the comment section it would have been better had it been one of the guys in the band. Yea we're f*cked up alright. Time to get back on track guys! (Jan)

Dream Quest - Centralia. 2006 private (CD). Collection revisit (Jan). Funny that this came from the collection I'm always threatening to tackle, and I'm already revisiting this title ahead of ones I still haven't heard. One of the few I listened to upon receipt of that collection (2016). This is a good album really, a fine mix of power and prog metal with a dash of shred. And at 33 minutes, the EP length is more ideal for this style of music. Same argument as always, I have way too much of this already. If I didn't though, I'd keep it for sure. Nice private release from Canada.

Isen Torr - Mighty & Superior (EP). 2008 Shadow Kingdom (CD). Collection revisit (Dec 2023). For some reason I had it in my head this was a reissue of a rare American 80s piece. I think it's the goofy "private looking" cover. But no, it's a side project of the doom metal band Solstice from England. Mighty & Superior is made up of two eight minute tracks and is clearly aimed at the epic metal crowd led by Manilla Road and the likes. Which would be me. It's not exceptional but certainly true to the genre and a pleasant listen. I have enough of the "real deal" so I can let this one go.

Other albums heard but not reviewed: This Ending - Needles of Rust (Feb); Nightrage - Abyss Rising (Feb).

* - Keeping for the collection

Blister Chap ~ Germany

Sweet Lillian (1980)

---5/23/12

With a moniker of Blister Chap, and a cover that features the male-fantasy-overload of a nice pair of gams* in fishnets holding a half-lit cigarette, one shouldn't expect much more than a good time rock-n-roller right? Well, no, not exactly. Blister Chap surprises everyone here with a sophisticated blend of American styled hard rock, AOR, and 70s progressive rock. Lots of clavinet as well for gear heads. Even more complex than a similar band - say Canada's Saga - which is bizarre on first sight. Released on the do-it-yourselfer Brutkasten label - and about par for the course for the imprint. You never know what you're going to get, and this one is quite good honestly. Not Krautrock mind you, defying their heritage, but if this were from the UK, then collectors would have more to crow about I think. File next to the Desiree - Make it With a Smile album.

 * - It's long been a goal of mine to put the phrase "nice pair of gams" in a review. I can scratch that one off the bucket list.

---5/24/25

Ha - look at that, almost precisely 13 years later I'm back to Blister Chap. This time I'm listening to my newly acquired LP. Blister Chap is a classic example of being lazily called Krautrock when it has no association whatsoever with the term. RYM wisely avoids this trap and uses Art Rock and Hard Rock as principles with Prog as a secondary. Another reference here would be Dschinn Fizz, a band I was mostly unfamiliar with in 2012. There were a lot of these interesting German bands running around the late 70s and early 80s. They weren't the "since discovered" prog acts (Sirius, Ivory, Neuschwanstein, etc...) nor the early metal groups, but rather bands trying to extend the boundaries of more commercial friendly fare. Scorpions were sort of up to the same thing, they just added more muscle to the proceedings. There's also quite a bit of fusion on Side 2 that is much welcomed. Title track could have used a rework however. Finishes nice though. As I concluded the Dschinn Fizz review: "If you come here looking for the next progressive rock classic, you won't be impressed. But if looking for that peculiar breed of North American "proggy AOR", then this album moves to the top of class.", one could easily make a similar argument here for Blister Chap.

As for the band moniker, that's a swing and a miss. There's just no quality connotation with the word blister. Blisters blow plain and simple. Perhaps Chaps My Ass would have aged much better.

Ownership: 1980 Brutkasten (LP)

5/23/12 (review); 5/24/25 (acquired / update)

No reissues for either of their albums as of 5/24/25.

5/24/25 (new entry)

Foreigner ~ England

Double Vision (1978)

So finally we get to Foreigner's sophomore effort. This was one of those early albums that I recorded off the radio and couldn't generate the enthusiasm to purchase. I was a fan of the debut, but already by 1978 I was looking for more. A wise 13 year old apparently. One gets the impression that the members of Foreigner were recruited by a corporation to create the perfect AOR group. And they succeeded that goal on the debut, but the band accidentally recorded some quality music to go along with their obvious attempts at radio airplay. By Double Vision, they'd honed their craft to block out most of that innovative music nonsense, and get on with making hits! Even with that, they let a few good songs slip on the B side. Namely 'Tramontane', 'Lonely Children', and 'Spellbinder', none of them allowed within miles of getting on the radio. Honestly I think they improved on their "formula" for their next two albums, separating further from any kind of artistic integrity dogma. And to think former King Crimson member Ian McDonald put his good name to this effort. Look at him and his pretty girlfriend on the album with Michael Giles and ask "What happened mate?"

Source: 1978 Atlantic (LP)

1978; 5/15/25 (review)

Foreigner 4 (1981)

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

Source: 1981 Atlantic (LP)

9/16/24 (review)

Foreigner (1977)

Unlike the other albums I own from my first year of buying in 1977 (including Alan Parsons Project I Robot which is already in UMR), I didn't originally keep Foreigner. Not even sure the LP made it to college with me. This was a "pandemic pickup" for a $1 from a fellow collector who had a garage sale on some random Sunday. Real time in '77 this would prove to be the first title I'd purchased with a prog rock heritage, primarily a one Ian McDonald.

Even though I played it endlessly as a kid, and only three years ago on the reminiscence purchase, I couldn't tell you what A5, B2-B4 sound like. The first two tracks were played endlessly on the radio, and they are good 'uns too: 'Feels Like the First Time' and 'Cold as Ice'. For me the best track is 'Long Long Way From Home', about the only one here that had more than two ideas in the same song. Overall, it's a pretty good example of late 70s FM radio AOR. 

I originally purchased this album in 1977 (as noted above) at Montgomery Ward in Northtown Mall (Dallas). I bought a lot at that store back in the day. The records were up front, by the window, near the entrance from the indoor mall. The mall itself was a total disaster and had turned into an outright slum by the 80s. They wisely bulldozed it and there's a much more attractive retail / office space there today.

Ownership: 1977 Atlantic (LP). Lyric inner bag.

1977 (first acquired); 6/22/20; 11/9/23 (review)

Head Games (1979)

Whatever I thought of Head Games when I was 14 years old still applies now. Though my rating was a bit too low. Yes, I can actually get through the whole thing, but it sure is trite. They are so obviously panning for hits at this point. I guess they figured if they threw ten of them against the wall, some would stick. And they were right, though they were to do even better (commercially speaking) on their next album. For what it is, it's not terrible, but I certainly don't need this kind of thing desecrating the collection.

Source: 1979 Atlantic (LP)

1979; 12/26/20 (review)

11/9/23 (new entry)

Arco Iris ~ Argentina

Agitor Lucens V (1975)

---7/9/09

This is a new revelation for me, and comes as quite a surprise. I always thought of Arco Iris as a new age / Andes Mountain hybrid from the 1980s. Then I was told their 1970's albums were different, so I got ahold of Los Elementales (which is on CD), a very fine fusion album from 1977. 

Agitor Lucens V appears to be unique in their canon. This is one of the best things I've heard in the last couple of years. It's a mite inconsistent, which is part of its charm I think. In some ways, this is Argentina's version of the Lula Cortes and Ze Remalho Paeribu album. And when you find out that their spiritual guide was a gorgeous babe / former fashion model, then you know these guys were tuned into something special.

---5/15/25

Agitor Lucens V was my highest rated album that I still didn't own a physical copy of. For many years this was the case. Even though Sony reissued the album on vinyl in 2020, I held out for an original since the reissue was also very expensive considering postage. Finally the reissue made its way to these shores, and I nabbed one at a relative bargain price.

It's been 16 years since I last heard the album while doing deep research for the CDRWL. As you can tell, the album made a strong initial impact and created separation from others in the stack. So has it held its allure? Oh definitely. Even better actually. Agitor Lucens V is a special album and truly is one of a kind. The album is almost indescribable yet it's mostly familiar within the context of each song. There is little consistency, very much an exploratory 70s styled release. My earlier comparison to Paebiru is accurate on a number of fronts, other than Arco Iris are more in control and professional (well, side 4 does get really out there). In some ways, one could see this being an Italian prog album were they allowed to stretch to a double LP. I first thought of this as I heard the long bluesy guitar jam that closes side 2. It reminded me of Garybaldi. Now mix some of that with Osanna circa Palepoli and you start to paint the picture. For a double album, it's enjoyable throughout, because you're embarking on the same journey as the group. You never know what's going to happen next. These are the best type of albums to have ever been made.

Ownership: 2020 Sony Argentina (2xLP). Gatefold. Sounds like it's been taken from vinyl, so keep expectations in check. Doubt originals sound much better to be honest, though I'd still like to have one. If Sony doesn't have the masters, then hopes for a perfect CD reissue are not likely.

7/9/09 (review); 5/15/25 (acquired / update)
 

Los Elementales (1977)

Arco Iris were always an unusual lot in the 1970s. All of their albums are different from each other, and often times different within the album itself. But not in that trite Beatles way which many bands fell victim too, but rather a much more exploratory element was present. The preceding effort Agitor Lucens V is one of the greats from the South American progressive rock scene, recalling other outsider works such as Paebiru from Brazil.

So when I first heard Los Elementales, my reaction wasn't that much different than some of the reviews I've read. Because it is after all 1977, and jazz fusion was all the rage. And on a cursory listen, that's what Arco Iris are doing here. But close inspection reveals far more than swapping synth, sax, and guitar solos over a breezy selection of tropical tunes. It's much more dense, sometimes angry, often times beautiful. The melodic component is high, and the technical chops are sound. In tow, of course, is their fashion model / spiritual guru Danais (Dana) Wynnycka providing guidance - and perhaps better for the rest of us, a few soft female vocals.

Don't overlook this one, if you have a taste for fusion, but looking for something more substantive.

Ownership: 2006 Leader (CD). Digipak. Includes an interview of the band (in Spanish) and a couple of relevant bonus tracks. 

6/10/07; 2/7/14; 7/15/16 (acquired / review)

1/1/17 (new entry)

Jacobs Dream ~ USA ~ Columbus, Ohio

Theater of War (2001)

Theater of War is the second album from Jacobs Dream and is sandwiched between the two I've documented below. Musically it is very similar to both. Next-gen early Queensryche with plenty of progressive sensibilities. I'll also add another Seattle band into the influence bucket: Sanctuary. Some bands have that right sound, and Jacobs Dream possesses it. David Taylor's vocals are incredible. He never screams, and maintains melody at the highest registers. A little bit like the operatic Messiah Marcolin of Candlemass. Much praise should go to the guitarists here as well. They not only riff (with a deliciously distorted tone) but their solos are soulful rather than gymnastic. Theater of War extends the compositions more than their debut, calling on their progressive tendencies. And an obvious admiration for Iron Maiden. As noted below, these are the only albums I've heard by Jacobs Dream. Hopefully I'll discover more while digging in the wilds.

Ownership: 2001 Metal Blade (CD). Lyric booklet.

11/19/18; 5/15/25 (review)
 

Drama of the Ages (2005)

Until late last year, I had never even heard of the grammatically incorrect Jacobs Dream. A few years ago, I bought a pile of metal CDs (all new or barely used) for $1 to $2 each, and stuck them in a drawer. Somehow I ended up with the first three Jacobs Dream albums. After hearing and enjoying the first one, I pulled the other two out for a higher priority than "tossed in a container forever" status. Of the CDs from that pile, some were hardly worth the pennies I paid. But Jacobs Dream is exactly the gem in the rough I was looking for.

As I noted on the debut, Jacobs Dream takes the premise of the Queensryche EP and runs with it. They are much heavier than our friends from Seattle were to become, and on the first two albums, singer David Taylor did a fine job at emulating Geoff Tate - himself imitating Rob Halford to an extent. For Drama of the Ages, Taylor is gone and Chaz Bond has taken the mic (cool name, eh?). His vocals are a bit disorienting at first, lower in register than Taylor, but still the Tate-isms are in play. Musically Jacobs Dream remain similar. They are not really progressive metal, but they have progressive elements, similar to the older vintage metal bands. The music is certainly heavy, and there are twists and turns within each track - and some sparse synthesizers. Miles away from the gymnastic Dream Theater school, Jacobs Dream provides you plenty of room for good old fashioned headbanging. Lyrically the band is becoming more and more overtly Christian. You would never know it by the music though. This is not praise-be-to-the-heavens hymnal work. But rather a different subject matter than what you might initially think hearing the music only.

This ended the three album run on America's preeminent heavy label Metal Blade. The fact that you can still find sealed copies for under $5 tells me the band weren't a big seller, despite the high quality and consistently great reviews from metal critics. From here the band began to self-release and later joined the Christian metal label roster of Retroactive. If any of these albums roam past my wire for a good price, I'm buying.

Ownership: 2005 Metal Blade (CD). Lyric booklet.

2/7/19 (review)

Jacobs Dream (2000)

The summer of 1983 was an exciting time for us young metal fans, and one of the great new hopes was a band from Seattle named Queensryche, who had just released their eponymous debut EP on their own private 206 label (area code for Seattle). It was exactly the right kind of metal I was looking for, a pre sell-out Judas Priest type album with incredible songs, heavy riffage, and a gifted high-pitched singer. Unfortunately they were never to repeat this sound again, though whatever they did decide on was immensely popular, but it wasn't for me.

Enter Jacobs Dream, a somewhat obscure band from Columbus, Ohio, who are still toiling to this day. This - their year 2000 debut - is the album I was waiting for from Queensryche - and I didn't hear it until 2018. So I'm 18 years behind the times, and Queensryche is 34 years overdue. This is just the kind of traditional heavy metal I like, with real songcraft, excellent riffs and guitar solos, a little bit of progressive, but not overtly so. And vocalist David Taylor is really quite accomplished, reminding me every bit of Geoff Tate in his prime. You'll hear snippets of other groups as well such as Number of the Beast era Iron Maiden, Fates Warning circa The Spectre Within, and even Rush (listen to 'The Gathering' to see what I mean here). The music is not pitch perfect and is rough around edges - just the way I like it. Easy recommendation for those where the above time and place resonates.

Ownership: 2000 Metal Blade (CD). Lyric booklet. One bonus track.

9/28/18 (review)

9/28/18 (new entry)

Sun Treader ~ England

Zin Zin (1973)

---2/26/13

Zin Zin is a very nice instrumental jazz / rock album with electric piano and exotic percussion. Despite the limited palette, there are many good ideas presented here, including some moodier atmospheric pieces. For those who like the jazzier end of the progressive spectrum.

---5/8/25

Short observation but pretty much spot on. I did forget to mention there's soprano saxophone on two of the four songs. Played in a friendly pleasant manner fortunately. Zin Zin is very interesting from a rhythmic perspective. The final 12+ minute track belongs more to electronic music than fusion, though the instrumentation remains the same. Awesome cover that I will add to my Wall of Albums.

Ownership: 1973 Island (LP). Printed inner bag.

2/26/13 (acquired / review); 5/8/25 (update / new entry)

Nightwinds ~ Canada ~ Ontario

Nightwinds (1979 / 1991)

Nightwinds were a Canadian prog band from the late 70s who recorded an album but didn't get a chance to release it, and off into the netherworld the group went. Rescued by The Laser's Edge, it would be 12 years (recent by archival standards) before the album made its debut. Ironically its arrival came a bit late for me and my running set of the era. We were all "Genesis'd out" by then. One of us bought the album and we all sampled it, but another band going down the Gabriel-era Genesis road was not what we were looking for at the time. Back then we bought just about every prog album that was released, but I decided against this title. By 1991 I was deep diving all over the world looking for the best prog albums ever made or were being made. Nightwinds wasn't where my dollars were going. Besides I was still mostly an "LP only" guy. Mostly from a financial perspective rather than for audiophile reasons.

It wasn't until 2009 that I finally sat down and heard the album all the way through. By then I was open to hear any good album, as my exhaustive searching for prog nirvana had reached its logical conclusion (not that I had heard everything, just the quest had leveled off). And yea, Nightwinds is really good actually. By that time Nightwinds was years out of print, and copies were selling for top dollar. It's OK, I'll wait.

And here we are 16 years later from that event and I've finally secured the CD at a reasonable price. One of those extremely rare times (these days) where the album arrived in the mail, and I popped it into the changer immediately (and listened to it twice in a row, another anomaly). That's exactly how I used to do it back in 1991. Not stacks of albums that sit waiting for their day on the turntable or in the player. So it's fitting to transport myself back to the era in which this was released.

So what of this music that Nightwinds plays? Would you believe it reminds me of Genesis? Haha. Of course it does. Actually it reminds me most of Florida's Babylon, another band that was ahead of the neo-prog curve by about three years. And that's the storyline here - it's a more compact and accessible form of early Genesis, just as IQ, Pallas, Marillion and the rest of them would bring forward in the 80s. Germany had other like-minded groups operating in similar fashion such as Neuschwanstein, Sirius, Ivory, Touch, and others. Take Wind and Wuthering, add Peter Gabriel back in, and modernize the sound. There's certainly nods to same era Rush and Saga, both hailing from Ontario and no doubt an influence here. But Nightwinds aren't as hard rocking as Rush nor as modern as Saga. Interesting to note that bassist Mike Gingrich came from the excellent Amish, one of my CDRWL staples.

In reflection, the late 80s and early 90s were an exciting time to be a hardcore progressive rock fan, which I most certainly was (and still the case - despite my constant forays into other genres). Back then new bands were sprouting everywhere, and the possibilities seemed endless. Plus I had a paying job (pennies really but happy to have it, and paved the road for the future), was still a single lad in my 20s, and allocated an inordinate amount of money to my hobby. That an album like Nightwinds was met with a yawn indicates the sheer amount of quality new product available to us at the time. Saturation was to come. But not yet.

Ownership: 1991 Laser's Edge (CD). Lyric booklet.

2009 (first listen); 5/5/25 (review / new entry)

David Stoughton ~ USA ~ Boston, Massachusetts

Transformer (1968)

---7/29/09

Way ahead of its time experimental psychedelic album. As adventurous as they come for such an early date, I was reminded of other experimental American artists from the same era like The United States of America, Friendsound, Music Emporium, Tim Buckley, Fifty Foot Hose, and The Beat of the Earth. Female vocals, trumpet, guitar, sound collages, and much more. Pure genius.

---5/4/25

More data has emerged since I last visited and wrote about Transformer. Apparently he was a Harvard mathematician (not sure if he was a professor of some sort) and was part of a music group called Cambridge Electric Opera Company, which this album was supposed to be released under. It was a last minute decision by Elektra to only put Stoughton's name and photo on the cover. John Cage was a major influence on the record, Stoughton recalls.

In hearing the album again, the two shorter opening tracks on each side are either psychedelic folk, or an English type of Baroque pop that was popular in the era. A3 is very similar to the experimentalism of Friendsound. And B3, while also experimental, does mix in some coherent psychedelic music. 

It's interesting to see the willingness of major labels to capture a larger audience during the late 60s. Transformer is hopelessly non commercial, but such were the times. By 1970, major labels weren't sure what to do, which is why I often called it the "confused year". By 1971, Corporate America had controlled the market and focused heavily on financial returns. That would be the state of affairs until it all broke down in the 90s when technology allowed everyone to participate. Today albums like Transformer are released regularly, but to niche markets, which is the proper approach.

This same article goes on to state: "Transformer... remains unpopular outside of what the musician calls "a small but dogged core of [online] music lovers who are interested in the extreme music of the '60s". I would agree with Stoughton that the album has found its audience due to larger global exposure. But I disagree with the influencer that it remains "unpopular". Who would know really? Seems popular enough on the websites I visit. I would say "unknown" is appropriate here. It's a polarizing album though, as is Friendsound, so yea it's not for everyone that's for sure. I enjoy it quite a bit, though I wish some of the experimentalism had been dialed back and they included more songcraft instead. Stoughton was good at writing tunes, so nothing to cover up.

Ownership: 1968 Elektra (LP)

No reissues exist as of 5/5/25.

12/20/07 (first listen); 12//08; 7/29/09 (acquired / review); 5/4/25 (update / 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.

Carlos Santana & Buddy Miles - Live! (1972)

One of the more forgotten of Santana's releases is his collaboration with Buddy Miles for a January concert in Hawaii. It's here that you can really tell that Carlos Santana was hankering to dig deeper into his spiritual consciousness. And explore jazz at a deep level as well. There's still plenty of the Santana III rock band styled music here, but Caravanserai is on the horizon. For fans of that phase of his career, this album is pivotal and represents a key transition.

Ownership: 1972 Columbia (LP). With insert.

4/30/25 (acquired / review)

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: 2003 Columbia Legacy (CD). Booklet with liner notes and photos. One bonus track as noted above.

2//05 (acquired); 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: 

1970s Columbia (LP) 

1998 Columbia Legacy (CD). Liner notes and photos. Contains three bonus tracks taken from the Woodstock concert.

1983 (acquired); 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 (acquired); 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: 1980s Columbia (LP).

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

Albums I own and still need to review: Abraxas; Santana III; Caravanserai; Love Devotion Surrender; Lotus; Borboletta; Moonflower; Live at the Fillmore 1968; Blues For Salvador; Santana Live

9/21/18 (new entry)