2025 Electronic Journal Vol. 1

Synergy - Sequencer. 1976 Passport (MC). For Synergy's debut, I concluded: "Larry Fast's debut is definitely a well put-together album... but there is a bit of pop classical thrown in that is disturbing. If I didn't have racks of music like this already in the collection, I'd probably load up on Synergy. I'll also try his others as I find them, just for comparison. For music such as this, it's surprising how much copy was sold originally here in the States." I could conclude similarly here. For an album named Sequencer, there's a surprising dearth of it presented here. I have his next album on LP here in the stacks. We'll see if it fares any better (Jun).

various artists - Infrasonic Waves Volume II. 1999 Ocher (EP). 7 inch 33 RPM. One of those oddball things you sometimes find at a thrift shop. This short 15 minute plus EP features four bands that I was previously unaware of: Magnetophone, The Groceries, Salome, and Our Glassie Azoth. RYM pins the genres as Space Rock Revival and Post-Rock. I really didn't hear any rock on this. Mostly electronic music. Discogs says Abstract, Experimental, and Ambient, which is more accurate. 15 minutes is about the right length for this kind of thing. I enjoyed it but nothing I need to hold onto. (May)

Waveshaper - Retro Future. 2014 Werkstatt (LP). White vinyl 45 RPM. Found this at the flea market in Albuquerque for a couple of bucks, and it looked intriguing. Waveshaper is Swedish synthesist Tom Andersson and his stock in trade is known as Synthwave. There's an exhaustive description on RYM of what this genre means, and Waveshaper fits hand in glove. But to someone who doesn't live in the micro subgenre world of the 2010's, to me it sounds a heck of a lot like Tangerine Dream circa Le Parc. Upbeat synth music with wedgy 80s styled keyboards. It's a fairly monolithic affair, but it's fun to go back to the 80s like this. Nothing I need at this point, but I can see the appeal. Of note, RYM lists this album as a compilation, but it's not really. Andersson is a modern musician who will record a song and then publish it on a streaming service. Technically this a "compilation" of the "best" tracks according to his fans. But these songs don't exist anywhere else, especially in physical form. (May)

The Orb - Orbus Terrarum. 1995 Island (MC). The Orb is a collective that's been in and around my sphere of interest for many years. Especially in the 90s. They were the house club (or is that clubhouse?) electronic side of the UK Festival Psych movement. And many participants cross-breeded. But I never heard any of their albums until now. Honestly I didn't get too much out of this release. It always seems to be on the cusp of something interesting, but never really goes anywhere. It's not ambient and it's certainly not dance oriented (no beats for example). They were a "chill out" group for a lack of a better term. In reading reviews, it seems most of the UK press drubbed this title yet it was welcomed by American audiences. Today on RYM it rates relatively high. I'd call it good and nothing more. I'll definitely continue to seek out titles by them, and there are many. (Jan)

Steve Dougherty - The Journey. 1992 Blue Duck (CD). Dougherty is a Baltimore based electronic musician who describes the album as thus on the back tray: "Using heavy drums, bass and rhythms with electronic effects to form an intense electronic sound." Wow - that sold me! At the thrift shop, mind. So is it all that? Nope, but it's a intriguing effort all the same. The opening track does have quite a bit of percussion and one could see an attempt at the Shrieve-Schulze sessions. In other places Tangerine Dream's Hyperborea comes to mind. Overall it's a bright early to mid 80s styled electronic album. All plusses as far as I'm concerned. The issue is a lack of ideas. There's an enormous amount of repetition, and as the album journeyed on (so to speak) I found myself looking for the fast forward button. Tempted to keep this because of its obvious obscurity, but I think I'll move on from it. Discogs has an entry for the cassette tape (no owners and no wants), so I added this CD. The tape is listed as an EP (because of the silly six song rule), but it's a full length LP for sure. (Jan)

*Monta - Unsuspecting. 2005 private (CD). Found this at a thrift shop in Topeka, Kansas two years ago. Monta are a group from Kansas City and they categorize themselves as "influences of post-punk, new wave, dub, future jazz, abstract funk, space rock, Krautrock, synth-pop and psych rock." Which is fairly accurate if looking for an idea of what it sounds like. I tend to associate music like this with the turn of the century. What we used to call "chill out music". The first couple of tracks did seem more like the early electronic Krautrock experiments (Cluster maybe) with its shimmering electric piano and heavy analog synth textures. It doesn't take long for the beats to show up, but at least they are of the jazzy variety. It's an interesting album for certain and I like the use of real instruments (including guitar). (Jan)

The Presets - Apocalypso. 2008 Modular (CD). Got this for free from a local shop (Dec 2024). RYM attributes these genres to this album: Electro House, New Rave, Electroclash, Electropop, Synth Punk. It's more granular than metal genres! I don't know any of them, but you can still guess what it sounds like. You know those scenes in television shows and movies where they go to a flashy nightclub and a bunch of male and female models are dancing with their collective arms up in the air, looking like they all belong in a cage? This is that soundtrack. I have to admit to really liking the thick wedgy synthesizer tone they obtain, something Wavemaker would have been proud of (hey, I managed to get Wavemaker into a Presets review, not bad eh?). The only problem is - that's about the only sound they use. The vocals will remind you of those 80s synth pop bands like Depeche Mode, Duran Duran, and Frankie Goes to Hollywood. I think it's overall very good actually. But to get into the collection these days, another one has to go out. It's not that good.

*The Electric Groove Temple - Sequence Me. 1996 Trichone (CD). Collection revisit (Oct 2024). In 2005 I wrote: "The idea of real psychedelic / acid guitar played over synthesized techno music is very appealing to me, and that’s about all there is to say about this one." In reading more about the band, apparently they used all organic instruments, no samples. I couldn't figure out how I ended up with this CD in the first place, having purchased it real time according to my database. The internet preserved the Laser's Edge review of it, and then it became clear. His review is spot on calling out references such as Eat Static and Santana.

Surface 10 - In Vitro Tide. 2000 DiN (CD). What a surprising find! It's not every day that a DiN recording finds itself at a thrift shop in the USA. But it becomes apparent it's another casualty of Independent Records' closing last year as it has their markings on it. There's no way I'm leaving something like this behind. I'll buy it for a couple of bucks without research and figure it out later. So who is Surface 10 anyway? It's a pseudonym for a one Dean DeBenedictus, a Los Angeles based artist who specializes in "IDM". What does that stand for? Intelligent Dance Music. Sure, OK, I'll bite. Essentially Electronic Dance Music (EDM) for those that can't keep a beat. Well that would be me for certain. So it seems useless on the dance floor. Can't imagine my nieces' going much for this. How about for listening? Well, no, kind of annoying honestly. I can appreciate the effort applied, but not sure who the audience for such a thing would be? (Sep 2024)

* - Keeping for the collection

2025 Revisits of prior UMR entries Vol. 2

Reminder that the links will go to the newly created UMR band pages.

WLUD - Carrycroch'

Agitation Free - 2nd

The Smell of Incense - Of Ullages and Dottles

Accept - Balls to the Wall

Psychedelic Gems

Grupo N.H.U.

Apoteosi

Tabletom - Mezclalina

McLuhan - Anomaly

Patrick Vian - Bruits et Temps Analogues 

Tender Aggression ~ Germany

Fly Disco Fly (1976)

Now here's one for you. Grabbed this with a whole stack of jazz funk albums (plus this) on the cheap. But once I saw the lineup on this album, I knew it was going to be the pick of the litter. 

Where do we start? I say we blame Sylvester Levay and go from there. Who? He's the Hungarian fellow who played on that most legendary underground Krautrock album Vita Nova along with a pre-Dzyan Eddy Marron. While hanging out in Germany, he figured out (rather astutely) that disco may be the next fad. So he forms Silver Convention, gathers up some pretty ladies, releases 'Fly, Robin, Fly' and it's "up up to the sky". Weeeeee. Dance dance dance. 

On a similar theme, some years ago I ran into a disco album by ORS (Orlando Riva Sound) that featured some Krautrock luminaries on Moog. Precedent had been set. 

With that prelude, let me introduce you to Dieter Reith. He would prove to be the next-gen Wolfgang Dauner. Dauner was a jazz keyboard guy playing around with heavy jazz rock and even Krautrock. But he wasn't above pop culture norms, and did a little bit of psychedelic hullabaloo as well in his day (The Oimels anyone?). Reith was also a jazz keyboard guy playing heavy jazz rock. But his pop culture would prove to be disco, with a capital D. Along for the ride, he brings Siggi Schwab and Dave King, both having played with Embryo among many others. And Curt Cress on the drum kit. He even drags in Ralf Nowy on sax. These are all heavy hitters in the German underground. 

So no matter the style, the compositions (mainly from Reith) are going to be first class with memorable melodies. And plenty of thick 70s analog keyboards to add the proper dressing. All with a string orchestra (from the no-chance-to-be-popular-otherwise Helmut Geiger Group) and a 4/4 beat, mandatory elements to make it a disco album. Curt Cress must've loved the paycheck he got for this. No fills or improvs, just keep a beat. Tough ask. 

More fun is the title of the album itself. It was released in their native Germany as Power Sandwich. What does that even refer to? We are decades before the term Power Lunch became a thing in business circles. Even better, in Spain, they decided to go with Disco Sandwich. I mean Disco Sandwich? How awesome is that? They should have just called it Tuna Taco to get to the crux of the matter. Speaking of the ladies, it appears Schwab enjoyed a good lusty evening. He was also involved with those Vampyros Lesbos albums.

In America these titles weren't going to fly, so to speak. How about Fly Disco Fly? Yea, no way we're trying to cash in on the Silver Convention or anything. I mean they only sold millions of copy. It didn't work obviously as who the hell has heard of this album before? 

Well I now have. If you have any tolerance whatsoever for disco, get this as it's really quite good. If questioned by those raising an eyebrow, say you were in it for the musicians involved. We all bought Playboy back in the day for the crossword puzzles.

Ownership: 1976 Morningside (LP)

6/23/25 (review / new entry)

I have another Dieter Reith on CD. When I get to it, I'll probably combine it here.

Ain Soph ~ Japan

A Story of Mysterious Forest (1980)

Ain Soph's debut is an island unto itself within the band's lengthy history. Starting as a Camel tribute band known as Tenchi Sozo, only dodgy live archival recordings exist, so it's difficult to critique their sound of the 70s. 

By 1980, the newly named Ain Soph were clearly influenced by all things jazz fusion. The opener demonstrating their adeptness at blistering Mahavishnu Orchestra type jazz rock. 'Natural Selection' sees the band consolidating many of the themes from Return to Forever's Romantic Warrior, mixing progressive rock with sunnyside breezy fusion. The first side closes with a more studied Canterbury styled piece complete with mellotron. Side two is completely different, calling on their progressive rock past, not really favoring any one band, but all the usual English suspects could be called out.

It would be another six years before Ain Soph resurfaced, this time with an album titled Hat and Field, and sounding nothing at all like a Canterbury group but rather a standard 80s jazz fusion was presented (see below). This would be the sound they took forward.

Ownership: 1993 Nexus (CD). I originally had the LP but swapped out fairly quickly.

1993 (first acquired); 1995; 2009; 3/4/11; 6/21/25 (review)

Hat and Field (1986)

When you boldly go forward with a name like Hat and Field, it better be meaty, complex, charming, and melodic. And you can tell that is what they’re trying to do. But it has a 1986 new agey production and period instrumentation that takes both the meaty and charming parts out. It’s mildly complex. The melodies aren’t too bad, but a tad too breezy. Bands like Machine and the Synergetic Nuts have proven the Japanese are more than capable at this type of sound. Ain Soph were a prog band at heart, but couldn’t seem to master the logos of it all.

Former ownership: 1986 King (LP)

2006 (review)

6/21/25 (new entry)

Taproban ~ Italy

Strigma (2013)

At some point I managed to hear Taproban's first two albums, but I'll be damned if I remember anything about them. So a revisit is in order for certain.

Almost ten years ago to the date, I had an opportunity to secure Strigma, their 4th album, on the cheap. Suitably impressed I filed it away with a nice rating. What did it sound like again?

Taproban, at least on this album, has tapped into the dark side of Italian keyboard progressive rock. Almost entirely instrumental, take away the vocals from Il Balletto di Bronzo's YS, Metamorfosi's Inferno, and Le Orme's Felona e Sorona, and you have a pretty good idea what Strigma sounds like. Three lengthy epics with heavy organ, mellotron, flute, piano, some guitar, and a competent rhythm section. In many ways they are emulating what Nuova Era started with Il Passo del Soldato. This is one of those "Italian prog albums for Italian prog fans" type of deals. It's not entirely original, including a couple of lifted bits from Genesis, but it's a small matter overall.

At some point it would be great to hear their other four albums (two again apparently), plus whatever compilations they contributed to. 

Ownership: 2013 Musea (CD). Booklet with photos, recording / instrumentation details, and lyrics.

6/13/15 (acquired); 6/21/25 (review)

6/21/25 (new entry)

2025 Classic rock / AOR Journal Vol. 1

Alice Cooper - Easy Action. 1975 Warner Bros (LP) (1970). It's true what they say when folks tell you this is nothing like the Alice Cooper you know. Musically this is a post psych, early prog, slightly jazzy release. If the songs were more memorable, I'd probably hold onto it. Apparently the band hadn't found their glammy hard rock sound yet, one they were to create on their next album Love it to Death.(Jun)

x - Cricket. 1979 Z-Brah (LP). Grabbed this out of a garage sale and it was strangely the only thing of interest in their stack. Signed copy of a private press rock album from Los Angeles is an immediate purchase for me. Guess the homeowners may have known the band in some way and the signature was for them. In any case the music displayed here is Female Fronted AOR (FFAOR), a subgenre that's become popular is recent years. Musically it's too brash for Yacht Rock, too rigid to be disco or boogie, and too AM poppy to be FM oriented. The songs are OK but mostly standard issue efforts looking for hits. Not near as charming as, say, Airborne. This is a very professional looking release. The band had a full management team and must have thought they were backing the winning horse. However, this horse was a loser and the LP was the only thing the label released along with a single (both cuts are from the album). No fame and fortune here. 2.5 stars. (May)

New England. 1979 Infinity (LP). I've been reading some very positive reviews about this album, some saying it's one of the great examples of late 70s AOR. I'm very much into that sound of late, so I thought this might be a good time to revisit the LP. And this copy has been signed by all four members of the band, giving it some value (maybe). I say revisit because I'd heard it real time when a buddy bought the album. I'm not entirely sure of the track we both liked but I think it was 'Shoot', which not coincidentally is also the heaviest thing on here. The one song that receives the highest praise is 'Don't Ever Wanna Lose Ya' but I would not have liked that back then, and most certainly not now. In hearing the album throughout again for the first time in 46 years, I'm not swayed anymore now than I was when I was 14. The LP also draws in the prog rock crowd since it has an inordinate amount of mellotron for an album such as this. But not as much as Small Wonder, one of those obscure AOR albums I do appreciate today. New England comes from the time when many bands took on regional, city, or state names as their moniker. No takers for Scranton however. (May)

Brian Eno - Before and After Science. 1977 Island (LP). As I've mentioned before regarding Eno, his albums are unpredictable and generally fall under the guise of "art rock". Before and After Science is no exception to that motif. My observation is that Brian Eno pretty much got to do whatever he wanted to, and today is highly praised for his innovative approach to various kinds of music. I think a lot of artists would have had a similar trajectory had they been afforded the same freedom Eno received. Good for him though, because he took full advantage of it. Before and After Science is another mixed bag of before-its-time New Wave, before-its-time New Age, electronic music, Roxy Music stuff, and whatever else he could cram into 40 minutes. As is usual with him, each side is very different from the other. I'm going to let this go and take the profit, but if I find a cheapie CD out there, I may hold onto it. (May)

Head East. 1978 A&M (LP). Another $1 record. I was in the mood to go as fast as I could through my budget finds and get them into the show boxes. But this title caught my attention. Hey, not bad at all! I had little expectation for it, but it's solid Midwestern AOR with a hard rock punch. Not sure I heard enough to keep, but these guys showed up for this title and earned their place in the late 70s FM landscape. (Mar)

John Mayall - A Hard Core Package. 1977 ABC (LP). Later era Mayall trying to keep up with the times by adding a little funk. But it's still blues rock all the way. Stayed true to his principles, especially considering it was the late 70s, and I think this would be a fine album for loyal fans. Too straight up for me, but not an unpleasant listen. (Jan)

Ten Years After - Cricklewood Green. Chrysalis (CD) (1970). Generally considered their best album, the first two tracks hold out promise this is going to be a heavy psych winner. But it eventually bogs down into the blues, and even country music. It's not until the last track that my ears perk up again. Seems Ten Years After had a lot of influence here in North America, as you can hear this sound in a multitude of obscure major label bands from the same time frame. A good album, but nothing more for me. (Jan)

Billy Squier - Emotions in Motion. 1982 Capitol (LP). Squier is another character who dominated the radio in my high school years. He had a unique sound that brought 80s production techniques to 50's rock n' roll revivalism. He was much better at it than his female counterpart Joan Jett. Not so bad on the whole, and a decent ride at the memory theme park, but everything here is wide brushstrokes lacking in any kind of nuance. Similar to the cover painting. And not just anyone can claim that Andy Warhol painted your portrait. (Jan)

x - One Aisle Over - Live @ UAS 2-28-09. 2009 private (CD). Got this for free from a local shop. Couldn't find it in Discogs so why not try it? Sounds like a more modern version of Fleetwood Mac. Naomi Hooley's voice is a reasonable facsimile of Stevie Nicks. What we used to call Adult Contemporary music I suppose (maybe they still do). You will hear bands like this occasionally playing at some upscale bar / hotel in the ritzy Colorado mountain towns such as Vail, Aspen, Breckenridge, or Telluride. UAS is the University of Alaska, so same kind of regional identity. Not really for me. Would be 2 stars on RYM. (Dec 2024).

Other albums heard but not reviewed: Jefferson Starship - Dragon Fly (Mar); Crosby, Stills, Nash & Young - Deja Vu (Apr); Supertramp - Crisis? What Crisis! (Apr); Neil Young - Live Rust (Jun); ELO - A New World Record (Jun); ELO (1971) (Jun); Roxy Music - Manifesto (Jun); Idle Cure (Jun).

* - Keeping for the collection; x - Not in RYM

Hawkwind ~ England

Doremi Fasol Latido (1972)

---2006

'Brainstorm' is such a classic riff, it's to space rock what Black Sabbath's 'Iron Man' is to heavy metal. I think Hawkwind has influenced as many bands as Genesis has. There are very few bands in the space rock field that don’t have at least some tieback to the mighty Hawks. One aspect of Hawkwind that I think is lost when summarizing, is the copious amount of acoustic guitar led tracks. Four bonus tracks in line with the more straight ahead rock side of the group.

---6/18/25

This was one of their albums I originally acquired in college, and helped define their sound to me. Hawkwind's third effort isn't that much different from everything I wrote below. Their stock-in-trade is driving space rock, and with Doremi they may have achieved their perfection of the formula. 'Brainstorm' is a great high energy opener with an excellent riff and many effects applied. 'Time We Left This World Today' is a superb change-of-pace psychedelic funk track. In retrospect it's hard to imagine a time when Hawkwind would actually be popular. They didn't have the romance or the coolness of Pink Floyd, for example. These guys were rough, raw, stinky, and scruffy. Yet they indeed were just that, popular. Overall, in my top 3 of Hawkwind albums I'd submit.

The CD adds their 1973 SP Urban Guerilla / Brainbox Pollution, a more straightforward punk approach than the album proper. Also includes the single version of 'Lord of Light', though not the B) side of  'Born to Go'. Final bonus is 'Ejection' which was unreleased prior. Very much in line with 'Urban Guerilla'.

Ownership: 2001 EMI Europe (CD). Extensive, and incomprehensible, liner notes with four bonus tracks. 

1986 (first acquired); 2004; 2006 (review); 6/18/25 (update)

Warrior on the Edge of Time (1975)

As I will probably state in every review about Hawkwind, they really aren't a band I crave listening time with. For the most part they tend to create a wall of sound and improvise from there. Warrior on the Edge of Time is probably their most well-crafted album, though again there isn't much here that is memorable. But it is oddly engaging while listening. The opening 'Assault and Battery' / 'The Golden Void' are often pointed out by fans as some of their finest compositions ever. 'Opa-Loka' could be lifted off a Krautrock album with its motorik beat. And 'Magnu' is classic In Search of Space styled Hawkwind. The addition of trippy narration works well on an album such as this. Finale 'Kings of Speed' sounds like an emasculated 'Ace of Spades', a formula bassist Lemmy would later perfect and capitalize on. Speaking of Lemmy, this was the album they booted him off from, tired of his druggy unpredictable ways. Not one to be slowed down, he launched his next band Bastard. He was later convinced that name wasn't going to make it anywhere, and renamed it to Motorhead, his last song contribution to Hawkwind. Which also found its way onto this CD too. Warrior on the Edge of Time is an excellent album, about as good at it gets for the psychedelic warlords. Speaking of which, can you believe leader Dave Brock is now 81 - and he's still playing live?

Ownership: 2013 Atomhenge (CD). Digipak with copious historical liner notes and photos. Includes the one bonus track as noted above. 

6/25/13 (acquired); 11/16/22 (review)

Space Ritual (1973)

Hawkwind is a band that I was first turned onto in late college, by a mutual Philosophy student / friend (I minored in Philosophy and History, much to the chagrin of my Engineering professors who thought it a waste of time - best thing I ever did in college!). I have to say that while I've always enjoyed Hawkwind, they were never a favorite, or anything I feel a huge urge to listen to. The first album I bought, and remains my favorite by them, would be In Search of Space. Believe it or not, I have never owned Space Ritual until now. I would often see it in the used bins in Lubbock during this time, always in terrible shape and not cheap either. My buddy back then played it for me, but it didn't move the needle enough for me to pursue. Now we move forward some 35 years later. I dedicated one evening listening session to it, and my initial impression of Hawkwind, and this album, holds tight. Basically they produce a wall of sound with guitar chords, saxophone noises, synthesizer swooshes, and mumbling vocals. The only guy it seems that is working hard is Lemmy, using his bass to drive the music forward. Their songwriting is almost non-existent. The two tracks that stand out, seem to be the same two tracks that always stand out: 'Master of the Universe' and 'Brainstorm'. '7 by 7' should also receive mention, and their best "song" 'Silver Machine' isn't to be found here. Gong would take this formula to much more interesting heights soon after. And in the late 80s, Ozric Tentacles took the sound to its logical conclusion, with many followers tagging along. Hawkwind are to be commended for being pioneers, but they aren't really my kind of space rock. Of course I'm keeping this, if for nothing else than to consider the incredible six panel poster cover. A lot folks sing the praises of this reissue for sound quality. I'll take them at their word.

Ownership: 2016 Parlophone UK (LP)

3/18/21 (acquired / review)

Hawkwind (1970)

It all starts here for Dave Brock and company. There are traces of their blues rock past along with a clear fixation for late 1960s Pink Floyd. Hawkwind will never be accused of being great songwriters, and that's true here as well. And they're also pretty sloppy, which is part of the allure honestly. A legendary band that earns that status, but in the oddest manner. The CD includes four relevant bonus tracks

Ownership: 2010 Liberty Japan (CD). Papersleeve with four bonus tracks.

1992 (first acquired); 2/1/21 (review)

Other albums I own and need to review: In Search of Space; Hall of the Mountain Grill

2/1/21 (new entry)

Mike Oldfield ~ England

QE2 (1980)

All these years later, and I still hadn't heard QE2 from Mike Oldfield. By the time I was out of college, I'd heard the rest save Platinum. That latter album ties closest to QE2. Even though I really enjoy Oldfield's next two works Five Miles Out and Crises, both also a mix of long and short form tracks, I don't hear the same kind of inspired writing on QE2, similar to my reaction to Platinum. OK, I've now heard it and I've completed my Oldfield run. Though I do need to revisit Incantations, which has been sitting in the listening box for about three years now. (Jun).

Source: 1980 Virgin UK (LP)

6/15/25 (review)

Ommadawn (1975)

Another one of those records I've had since the beginning of time (my time of course...). This is one of those albums I keep expecting to go to the next level but it never quite does. Here Oldfield is playing on familiar English and Celtic countryside themes similar to Hergest Ridge, with one track taking up both sides, but lacks the wild climax that album possesses. A very fine LP nonetheless.

Ownership: Virgin UK (LP). Red and green labels, likely from the early 80s.

1985 (acquired); 2/3/23 (review)

Five Miles Out (1982)

Last year I wrote the following about my rediscovery of Crises (edited for relevancy): 

I was on a Mike Oldfield kick in college, and this one was his newest album at the time... Back then I was looking for more and more underground prog rock, and Crises to me at that time was only half an album. Eventually I moved it out. In reacquiring the LP, I could almost argue the same thing - except the half I like best today are the 6 tracks that make up Side 1. In fact, in absorbing the album with 3 straight listens, I could be persuaded to add Crises to my X-Wave collection versus progressive rock. Of course Oldfield is considered prog rock royalty and he brought on many guests for this album, most from that world... Overall, this resulted in a +3 listen. It won't be long before I find Five Miles Out I'm sure...

---

And that day has arrived. Every single thing I said above applies here. From the +3 listen(s) - to the shorter tracks being more preferable than the side-longer - to the special guests - to the argument that this could be an X-Wave album versus prog. If you like one you will like the other. Glad to have it back.

Ownership: 1982 Epic (LP). Gatefold. 

1984 (first acquired); 3/22/23 (review)

Crises (1983)

I was on a Mike Oldfield kick in college, and this one was his newest album at the time, though Discovery may have just hit the shelves, can't remember. Back then I was looking for more and more underground prog rock, and Crises to me at that time was only half an album. Eventually I moved it out. In reacquiring the LP, I could almost argue the same thing - except the half I like best today are the six tracks (see below for details on this) that make up Side 1. In fact, in absorbing the album with three straight listens, I could be persuaded to add Crises to my X-Wave collection versus progressive rock. Of course Oldfield is considered prog rock royalty and he brought on many guests for this album, most from that world. I think the best track here is the ultra catchy 'Foreign Affair' followed closely by 'In High Places'. Concerning the latter, this is the type of setup that best highlights Jon Anderson's voice. And yes, the side longer does possess a strong progressive rock component. Overall, this resulted in my second +3 listen of the year (see Faithful Breath). It won't be long before I find Five Miles Out I'm sure (and I did).

I own the Canadian press and this is significant. Why? This is the only pressing to have the track 'Mistake' on it. I originally asked the Discogs community about this, and it has now been confirmed. Also interesting to note that Crises was never released in the US on vinyl.

Ownership: 1983 Virgin Canada (LP)

1984 (first acquired); 8/24/22 (review)

Hergest Ridge (1974)

I was in college when the Compact Disc first hit the common marketplace. But of course, like personal computers back then, they were prohibitively expensive for us student paupers. One could only look at the "long boxes" and dream of a scratch free / tick free experience. Oh the irony of today when everyone wants those sounds. Just like many want their beer to be hazy, after centuries of learning how to better purify the beverage. We're a world gone mad.

Really without any other choice, I stayed with the vinyl album because it's all I could afford (even then I disliked cassettes - another medium back in vogue. Going crazy I tell ya...). So in 1984, all of 19 and really dirt poor, I dutifully purchased my dogeared used and scratched USA Virgin press of Hergest Ridge for a $1 at a local store. So yea, not only used records, but not necessarily great copies either. Hey the nicer ones were $4! I couldn't afford that. And so I'd take the vinyl home, plop it on my roommate's crappy stereo with a crappy stylus and played it endlessly. Happier than a clam.

Two years later I scored a summer internship at a major defense contractor. I was making gobs of cash (relatively speaking of course) for the first time in my life. So I did what any other 21 year old newly minted "hundredaire" would do: I bought me a nice stereo! With a CD player - wow I'm rich! And the first two CDs I purchased were Pink Floyd's Meddle and Tangerine Dream's Green Desert. Stories for another day (and since told). But damn, new CD's were expensive back then. But then there was the burgeoning used CD market (not cheap either but better)...

I bring this story to the Hergest Ridge review because this was the first used CD I ever bought to replace a beat LP, starting a trend that continued for years. And to no regret whatsoever. As mentioned above, it wasn't like we had 180 gram pristine vinyl copies like today. Oh hell no - we just had scratched up old used copies of commodities that probably found themselves in a trash can years later. And back then even the new albums were cheap 80s represses - again of the commodity variety. Any expensive import I would have kept on LP. And to my ears, did this CD ever sound SO MUCH better than my old vinyl!

As for the music, Hergest Ridge remains my favorite Oldfield effort (though Amarok - the album from out of nowhere - gives it a run). He managed to capture the English countryside sound similar to Anthony Phillips - but on a large scale with many marquee name participants. And Side 2 gets really intense about halfway through - Oldfield's inner anger comes out with pounding / continual synthesizers and raucous guitar rave-ups. If you think of Oldfield as some tranquil music for middle aged New Age fans, play this side of music and you'll have a different viewpoint. Excellent on the whole.

Ownership: 1984 Virgin UK (CD). Yes, it's the exact same CD as above. No bar codes. Cheap booklet that goes on to explain what a Compact Disc even is - in English, French, and German. 

1984 (first acquired); 1986; 11/1/14; 9/14/19 (review)

Other albums I own and need to review: Tubular Bells; Incantations; Amarok

9/14/19 (new entry)

Mofoya ~ USA ~ Hawaii

Send a Message (1979)

Mofoya's sole album is an amalgam of styles covering everything from ferocious jazz rock to sweet soul and disco. To be clear, it is primarily a fusion album, but the other styles mentioned add spice to the dish. Flute and guitar are your primary instruments. Tracks like A4 and B3 are beautiful instrumental acoustic guitar and flute pieces, offering up the sounds of the island vacation you expect from Hawaii. Only to be destroyed by the Mahavishnu Orchestra style of A1, B4, and especially B2. B1 and B5 have some boogie down disco fusion, whereas A2 is sweet soul with fine female vocals. There's also references to the psych funk sound throughout.

I see Send a Message often labeled as a progressive rock album, but I don't hear it myself. It sends the wrong message so to speak. This is distinctly an American type of music that we often hear from the late 70s. Groups taking more simple styles to a higher art. Anyone who enjoys the CTI sounds of the 70s will enjoy this. Maybe even more so given some of the violent guitar on display.

On the back cover, the band name is stylized as MoFoYa.

No reissues exist as of 6/17/25.

Ownership: 1979 Kona Gold (LP)

6/16/25 (acquired / review)

Andromeda ~ Germany

Andromeda (1979)

Similar to Zarathustra, the German moniker of Andromeda is more known from an early 70s album. And just like with Zarathustra, I prefer the later, different band. This Andromeda plays a mixture of familiar progressive rock styles, most notably Jethro Tull due to the use of flute and overall song style. Also Genesis and Yes will get a reference. I was most reminded of mid to late 70s Mythos overall with a nod to Novalis, especially considering the half-German vocals. A very good album, one that carries perhaps too many lyrical passages to be a classic, but the instrumental sections carry the day. Strong guitar work as well.

Technically the band is known as Androméda. They have two other releases that I've not heard.

No reissues exist for any of their albums as of 6/17/25.

Ownership: 1979 private (LP)

6/16/25 (acquired / review)

6/17/25 (new entry)

2025 Hard Rock Journal Vol. 1

Rory Gallagher - Blueprint. 1973 Polydor (LP). After being pleasantly surprised by Gallagher's Against the Grain (see below), Blueprint is more of what I would expect from a blues rock guitarist. I didn't derive too much out of this title unfortunately. (Jun)

Morly Grey - The Only Truth. 2000 Akarma (LP) (1972). Collection revisit (May). When I first started collecting heavily in the late 80s, I began to receive catalogs with big-time rarities. Among the top tier of those was Morly Grey, an album going for more than three times my monthly apartment rent back then. Without knowing the future, I just presumed I would never get to hear an album like that. It was exactly at that time the bootleggers started to run wild, and albums like this were available to us paupers too. After a couple of bad experiences I avoided those boots like the plague, and The Only Truth remained an album I missed in my original deep diving experience. Many years later, the always checkered Akarma showed up with a supposed legal LP reissue. Complete with the poster! Oh why not I said - especially since I had access to obtain it at a wholesale price. That's Part 1 of this review - the collector background. For Part 2 I'll cover on the music. If one was to just hear this album as "all things being equal" then I think it would be easy to walk away unimpressed. But if you can immerse yourself in the regional culture of northeastern Ohio in the early 70s, then an album like Morly Grey opens up. And that painting and font / lettering could be the cover art for the entire early 70s American private press movement. Even with that immersion, Morly Grey isn't near as adventurous, as heavy, or as psychy as many of their counterparts of the day. The 17 minute title track looks impressive on paper, but when you realize much of it is a space rock version of 'When Johnny Comes Marching Home', then it loses its punch. Many of my peers love this record but I'm not feeling it. Never have. For Part 3 of this evaluation, I now need to consider the ownership. Were it an original copy, I would treasure it to the end. Because it would come with a story of how I obtained it. If that happens at some point in my future, that would still hold true. Perhaps I'll obtain the later issued Sundazed CD or LP on the cheap via my various digging and trades. But this version? Akarma was always good at packaging, I'll give them that. But do I have any nostalgia at all for this particular LP? Nope - wholesale online mail order buy. Probably bought it in between some corporate meetings. No magical listens either. Long way of saying that this LP is out the door. But there's still room for The Only Truth in the collection if opportunity affords itself. Not essential though.

Eternity. 1981 (online). One of those sought after private hard rock albums from the abyss that was the late 70s and early 80s. Reissued on LP in 2014 by Got Kinda Lost, a Guerssen sublabel, the album was released to a larger niche audience. Looking at the cover, I know if I found an original in the wilds my hands would be sweating. It's got the look. You'd think it might be a Christian metal album actually, though it's neither Christian nor metal. As for the music, it's surprisingly straightforward for the time. Many of these type of underground bands from this era would mix in some proggy ideas or let loose in the instrumental department. No such luck with Eternity. The hype sticker suggests it has a sound more from the early 70s. Naw, too dormant for that. The guitar solos are very good, the other guys are rather static including the vocals. It's tough to figure out the audience for such a record, even in its day. Far different than fellow southern Californian residents Alkana. Good hard rock for certain, leave it at that I guess. Sealed copies of the reissue are still available online for a good price if interested. (Apr)

Steve Vai - The Ultra Zone. 1999 Epic (CD). It's hard to walk away from CDs like this when they're mint and only 69 cents, even though that's about all it's worth. I like Steve Vai though I've yet to hear anything I wanted to keep, including his work with David Lee Roth. This is a typical eclectic brew of hard rock styles with Vai's adept soloing. Something like this would have been head turning in 1979, but 20 years later, there were many of these type of albums, including from Vai himself. Fans will love it, but I remain impressed yet bored. (Apr)

*Rory Gallagher - Against the Grain. 1975 Chrysalis (LP). I'm way late to the party when it comes to Rory Gallagher. One of those artists I've heard of almost since the beginning of my time listening to FM radio, and yet have never taken the time to hear one of his albums. My loss. I never find them either, despite Against the Grain not being an expensive record (and many others appear affordable as well). The easy description is Gallagher plays blues rock. But this is far more interesting than your standard 12 bar blues. And what a guitar tone he achieves. One can hear Foghat, Groundhogs, or Frank Marino here, though probably one or all were more influenced by Gallagher than the other way around.  I preferred Side 1 to the flip. 'Cross Me Off Your List' is a particular highlight. I need to hear more of his albums before formulating an opinion and creating a page. I'm sure at some point I will find them out in the wilds. (Apr)

AC/DC - The Razors Edge. 1990 ATCO (MC). A reasonable person might ask why I continue to listen and review AC/DC albums when I don't like any of them. A good question that I don't have a great answer to other than to say I'd like to document all of them and try to be as objective as possible. I have to admit the opening is quite intriguing, as Angus Young has quite the unique riff going. But once Brian Johnson begins singing with his sandpaper voice, it's back to the usual boogie hard rock complete with gang chorus'. RYM has this as their highest rated album after Back in Black including For Those About to Rock, which surprised me. I once found a sealed reissue LP of this album but there was no way I was going to break it figuring I wouldn't keep anyway. Easy guess. I can't imagine building a group page for AC/DC since I doubt I'll keep any of them. If I do, then I can consolidate all these journal entries. Otherwise it just looks like I'm bitter towards them. But I'm not, they're just outside of my enjoyment zone. (Mar)

Terry Reid. 1992 BGO (CD) (1969). Very much of its era English blues rock. Many compare to Led Zeppelin in their similar early blues rock phase, though I'm not hearing it myself, even though Reid was very much part of that circle. Some good fuzzy guitar offsets the mostly vocal tracks. The highlight for me is Pete Solley's (not Pete Shelley as is often cited) organ performance. 'Marking Time' is my favorite track by some measure, and the rest is decent, but rather mundane to my ears. Typically great BGO reissue with a full history. Also contains four bonus tracks from 1967 and 1968. On these Reid is performing a more Beatles styled Baroque psych pop, much different than the album proper. (Feb)

George Hatcher Band - Coming Home. 1982 The Goods (LP) (1980). This ended up being much more interesting than I thought it would be. I found a sealed copy a full year ago while Mrs. UMR and I were antiquing down south in Florence (Colorado). Put it in the sealed records box to eventually check out. I found the album on YouTube with little expectation. The publishing address is Charlotte, North Carolina, so I presumed country rock to be honest, especially considering his look on the cover. Nope - not that. Singer George Hatcher was born and raised in North Carolina, but relocated to England in the mid 70s and began to work with Curved Air members. So clearly he associated with next level musicians. He started his own group in England playing American styled southern rock. Eventually he moved back to Charlotte and built a new band under his name. The reviews out there are accurate when they say that Hatcher bears a strong resemblance to Bob Seger. And some of the music also recalls the Silver Bullet Band. But it's much more creative than that might imply. There's also some really strong synthesizer, clavinet, and dual guitar work here. The opening three tracks are best before beginning to devolve into typical boogie rock. But even on those songs there's usually a cool guitar break. B3 and the second half of B1 are also really good. After A3 I was thinking this was going to be a keeper, but overall just not enough meat on this bone to keep me full through the winter. Will take the profit instead. (Feb) 

Power - Electric Glitter Boogie. 2017 In The Red (LP) (2015). Got this sealed from a store in Denver for really cheap (Feb). Let's go to Bandcamp and see if this is something I want to keep. Power are an Australian band celebrating the hard charging boogie rock of their 70s ancestors, like early AC/DC and Rose Tattoo. With a dash of late 70s punk thrown in, especially considering the songwriting and vocal style. But the guitarist gets a lot of limelight, putting us back in the early 70s. I wish they were copping Buffalo instead, but this isn't bad at all. No need to keep though.

Cherry St. - Monroe. 1996 Perris (CD). Cherry St. were yet another 80s glam band out of Los Angeles. Way late to the party (so to speak), they had to borrow old cans of hairspray just to get a back row seat. By the time of Monroe, they went au natural and look like every other tattooed hard rock band trying to make a go of it. The music is straight up boogie hard rock like AC/DC and Krokus, and the lyrics are loaded with foul language. No bueno by any measure. Appears the band never got plugged in correctly, and are now a mere footnote in history. This version features three bonus tracks where they at least up the metal ante. Needed way more than that though to gain anyone's attention. (Jan)

Other hard rock albums heard but not reviewed: Edgar Winter - Roadwork (Mar); Trapeze - Hot Wire (Apr).

* - Keeping for the collection