Ainigma ~ Germany

Diluvium (1973)

Moving further along in 1998 comes the next album I haven't heard since that time. Ainigma are something of an anomaly for German rock in the early 70s. This is not Krautrock as we know the term. In fact it sounds more American. Like a 1968 garage act moving into psychedelic and hard rock. Though most of those bands were only able to scratch out one 45 two sider, with Diluvium you get a full album and these songs are stretched way beyond their natural life. Nothing wrong with that of course. The music is raw, filled with fuzz tone guitar and 60s vintage organ sounds. Songwriting is an afterthought to nonexistent. I suppose Deep Purple would also perform similar in a live setting, but believe me, this is far more primitive. And yes they were only 15 to 17 when they created this LP. The miracle is that it was recorded and released, rather than this kind of music existed back then in Germany. I'm sure there were plenty of similar type bands running around that great nation that never got close to a studio. It's a no wonder collectors have been seeking this title out. Probably since 1974. 

As is Little Wing's custom, they would release LPs in a more elaborate cover than the original. In this case, it's a much welcomed addition. The gatefold cover is far more intriguing than the basic black and white single sleeve of the original. Also the inner bag goes to great lengths to tell us that the music of Diluvium has been "carefully reconstructed by Willy Kluter himself." I have not heard any of the other reissues to know if they used this version or went with the original master tapes. Though in reading the liner notes of the GoD version (online) it appears they did go with a Kluter remaster (maybe a new one though for CD).

Ownership: 1992 Little Wing of Refugees (LP). Gatefold. Silver sticker. One bonus track. Inner bag has a short history. Supposedly numbered, it's obvious not all copies were as even the Discogs stock copy is missing it. As is mine. Probably sold more than 500 copies originally, which back then would have been realistic.

1998 (acquired); 7/30/25 (review / new entry)

Pierrot Lunaire (& related) ~ Italy

Arturo Stalteri - Andre Sulla Luna (1979)

Next up on the stack of forgotten albums in my collection is Pierrot Lunaire's keyboardist Arturo Stalteri's debut. Looks like I picked this one up enthusiastically not long after being reissued, heard, filed, and that's the last time I listened to it. In fact I didn't even have it stored in my electronic collection (physically that is), but rather it was in the prog rock section, taking me a bit to even find it.

The eerie keyboard sounds Stalteri produces is most certainly those of Gudrun, but here they are the focus. The music has the Systems feel of Roberto Cacciapaglia or Franco Leprino mixed with a French styled rock aesthetic. Random bursts of electric guitar are unexpected and much welcomed. In this way Philippe Besombes becomes a name checked reference. Franco Battiato must also be mentioned, though perhaps it's more compulsory than accurate. Andre Sulla Luna is most certainly just as influenced by academic classical music as it is Italian pastoral folk. As with Gudrun, the album demonstrates it's more one-of-a-kind than a scene fitter. Random yet exhilarating. An album I didn't have any recollection of, but did give it initial high marks on arrival. That rating stays and now I can justify it as well.

Stalteri is still actively releasing new product and has well over a dozen releases to his name. If I find them in the wilds I'll have to give them a spin.

Ownership: 1997 M.P. (CD). Cardboard sleeve. Booklet with notes in Italian. Includes five bonus tracks that are largely more primitive editions of the LP versions.

1998 (acquired); 7/30/25 (review)
 

Pierrot Lunaire (1974)

Like many Italian prog fans, my first exposure to Pierrot Lunaire was from their avant-garde masterpiece Gudrun. With that backdrop, Pierrot Lunaire's debut is a bit of a shock to the system. The album is a low-key, pastoral, folk influenced progressive rock. Flute, keyboards, vocals, and acoustic guitars are the primary set of sounds. There isn't much here to latch onto, with a low set of dynamics, and yet it's a peaceful 45 minutes of listening. If looking for comparisons, Pierrot Lunaire is more subtle than Saint Just's La Casa del Lago, and less compelling than Errata Corrige, but both are in the same ballpark. Side 2 contains the album's highlights, with the keyboard heavy symphonic piece 'Il re di Raipure' and the hauntingly beautiful 'Arlecchinata' with wordless female vocals. Pierrot Lunaire's debut is very consistent and fortunately there are no low moments to endure. A solid record that comes recommended, though it doesn't predict the brilliance of their sophomore release.

Ownership: 1994 Si-Wan (CD). Liner notes in Korean.

1989 (LP reissue first acquired); 1996; 11/10/14; 8/22/15 (review); 7/18/24

I own and still need to review Gudrun.

8/22/15 (new entry)

Metallica ~ USA ~ San Francisco, California

Garage Days Re-Revisited (1987)

After reading the below, it should come as no surprise I bought this EP on Day 1. I don't technically like cover tunes, as I see them as something of a novelty. But in the hands of Metallica it somehow seems different. They make great songs even better, especially in their 80s heyday. And their choices of songs proves once again that they were quite well versed in metal history. Choosing bands like Diamond Head, Budgie, and Holocaust was next level research for 1987. This was the album that introduced bassist Jason Newsted, and a key transitional moment that Metallica wasn't going to give up after Cliff Burton's untimely accidental death. Another one of those albums I have no documentation of hearing since purchase, though once again I know that's not accurate. 

While I'm here I should cover off on the extended 1984 Garage Days Revisited single that includes the devasting 'Am I Evil?' from Diamond Head plus the excellent NWOBHM Blitzkrieg track.

Ownership:

1987 Elektra (EP)

1998 Elektra (CD) Garage, Inc: Disc 2 - Tracks 1-5 (6-7).

8//87 (acquired); 7/29/25 (review) 

Kill 'em All (1983)

It all starts here. This album. The one that put thrash metal on the map, and perhaps was the jet fuel the entire heavy metal genre needed to survive for the ages. As I noted on Accept's Restless and Wild, they lit the match. Metallica took that fire to the torch and scorched the earth with it.

For me personally I was looking for a sound. I didn't know what it was, but I needed a place to burn some pent up energy, both mind and body. By 1983, I was a huge fan of Iron Maiden, Judas Priest, Saxon, the aforementioned Accept album and a few others. Iron Maiden was the closest to what I was seeking, but they weren't ever really that heavy to be honest. But they had the right idea compositionally with 'Phantom of the Opera', 'Hallowed Be Thy Name', 'To Tame a Land', and many others. According to RYM, Kill 'em All was released on July 25, 1983. That ties to my memory as well. It wasn't until August that I purchased my copy (which I still own) after reading about it in Kerrang. The timing is important because it was only a couple of weeks before I entered college. One of those identity defining moments at a key time in life.

I remember hearing the album for the first time and my reaction to it. 'Hit the Lights' was a perfect opener. A lot of albums back then had a perfect opener. But would it sustain? Then came 'Four Horseman'. And there it was - that was the sound I was looking for! The riffs, the production, the meter changes, everything about it was so perfect. ...And it never let up from there. The album was relentless in its pursuit of heaviness with a bit of brainpower. Some of their best tracks can be found here (including the two openers), especially 'No Remorse', 'Whiplash', 'Jump in the Fire', and 'Seek & Destroy'. 

They were to improve dramatically on their next two albums in the areas of songwriting, technique (including vocals), lyrics, and production heaviness. And yet Kill 'em All was already miles ahead of any perceived competition.

As I stated - it was an album that shaped an identity. As noted here a few times, I attended Texas Tech. That school is in Lubbock, in the middle of hardcore West Texas. Country music ruled supreme and many young cowboys from the area went to school there. I had nothing in common with any of them. I was a city kid from Dallas. There were a few of us like that. It would be three months before I even met someone who knew who Metallica was. Instant friendships were bonded in that way. Long haired, torn denim, tennis shoes wearing metal heads in the world of clean cut cowboys complete with hat and boots. The only downside was that all the pretty girls (and there were many of them!) liked the cowboys. Sigh. 

I acquired this album not long after release at a mall record store as noted above. Funny to think about that too. At a mall store... Probably right next to Men at Work's Cargo.

A true story: One early afternoon after class, I needed to burn off some energy (common theme apparently), and was jamming to 'Whiplash'. Two of my dorm mates were walking down the hall. Imagine 6' 4" tall cowboys, tight jeans, boots, and black hats - walking in lockstep. They saunter past my door. They stop and look backwards into my room and ask in a western twang:

 "What the hell is that sh*t?". 

"It's Metallica, dude" 

"What?" 

"Metallica".

"Well that sh*t SUCKS. Keep it down!"

Ownership: 

1983 Megaforce (LP). Lyric inner bag.

Vertigo Argentina (CD). Two hidden bonus tracks taken from the 'Creeping Death' EP: 'Am I Evil?' and 'Blitzkrieg'

2010 Vertigo Japan (CD) 

8//83 (acquired); 1//04; 8/8/15; 8/8/24 (review)

Hardwired... To Self-Destruct (2016)

I got this in a bulk metal buy about four years ago. Just now getting to it. No time like the present. There's so much I could say about Metallica, having purchased Kill 'em All not long after being first released (see above). They were so far ahead of the pack in the 1980s, the whole world was scrambling to catch up. And still couldn't keep up. Their last innovative offering was And Justice For All, way back in 1988. Metallica knew that it would have been impossible to stay on top of emerging trends, so they pivoted to a completely new sound. I dropped out at that time as well. Their 1991 album tends to get a pass today (an album I didn't appreciate until recently myself). And everything else they've released since then comes with a cargo ship full of hate mail. If I were to write a fast thesis, it would be interesting to note the fan trajectory of a peer like Iron Maiden, who today is as highly admired as ever before. Which gets us to Hardwired, an album that I should be saying is their latest, but I piddled long enough for them to sneak a new album in. That new album is taking the same poisoned arrows as anything else they're released since the 80s. I liked Death Magnetic (2008), their first album to consider their own legacy. I couldn't tell you much about it, but I do own the CD. But my guess is I'm holding onto to that for the same reason I'm holding on to this. It's probably temporary in any case for both. So what about the music of Hardwired? It's very good actually. Not extraordinary. No chance taking, no ten minute tracks about Celts and Samurai warriors like Iron Maiden is doing (to mixed reviews, but consider me a huge fan of Iron Maiden continuing to push the envelope). Rather Metallica cusses like a 14 year old juvenile delinquent and isn't even that heavy by today's standards. And they were the trailblazers of the modern metal sound. Nothing was as heavy as Master of Puppets in 1986. But Hardwired is almost like juiced up hard rock. They give you one full disc of music on two, and within all those minutes there is some good stuff. But no heart racers as they did in their youth. In the end, the band has nothing to be ashamed of on Hardwired, but they really gave away their place in history long ago. But those first four albums... Wow. (Jun)

Ownership: 2016 Blackened (2xCD). Triple FOC.

6/30/23 (review)

Master of Puppets (1986)

Presumably I don't need to review this album so you can know how it sounds. But what I can tell you is my own story. I was a junior in college when this was released (and purchased on LP - the copy referenced below in fact), and was probably the most anticipated release I can think of... ever. I had already bought their first two albums immediately upon release, and was subsequently blown away by each. That did not happen here. Make no mistake - my rating in 1986 would have been 4.5 stars had RYM existed then. In fact my opinion of this album has remained unchanged in 32 years of hearing it. I love every minute of it. And yet I couldn't help thinking it was a slight disappointment at the time, and even now. Why would I say such a thing about a universally acclaimed masterpiece? Well... think about the debut and then the follow up. Both were mind numbingly creative for their time. Master of Puppets was more or less a repeat of Ride the Lightning - more perfected sure, and objectively better. But subjectively perhaps not. Gone was the raw creativity, and in was the pure professionalism of it all. From here, Metallica continued in a similar manner - to the point of losing focus altogether. So Master of Puppets was the beginning of the end, though it didn't seem that way at the time. Yes, of course, it deserves all the accolades it gets and I'm one of those positive voters. 

Ownership: 

1986 Elektra (LP)

2006 Vertigo Japan (CD) Papersleeve.

3//86 (acquired); 8/13/15; 7/30/18 (review)

Ride the Lightning (1984)

To truly appreciate Metallica, I think it's important to understand the history. When Metallica debuted with Kill 'Em All, they had rewritten the rules of metal as we knew them. There just simply wasn't any band playing that heavy, that fast, and that clear in those days. Sure it was a bit simple minded, and the lyrics were a little on the bonehead side, but still the album had most young males heart racing faster than Secretariat at the Derby. It was an exciting beginning, and Metallica could've stayed with this style and been heralded as a pioneer much in the same way we view Motorhead and Iron Maiden.

Then came Ride the Lightning. Metallica still hadn't ironed out all of their contractual deals with Elektra, and I happened to be in London at the time of its initial release. Their UK deal was with the relatively minor underground label Music For Nations, and I just couldn't wait and bought the album at HMV. And dragged it with me for another two weeks. It's a decision I never regretted (and still have my well worn LP copy, that will stay with me until the end).

The album opens with 'Fight Fire With Fire', and that track still gets my adrenaline up. James Hetfield's vocals, as Xavier Russell hilariously noted in Kerrang at the time, was more like "Fight Vodka With Bourbon". It's been almost 25 years since Ride the Lightning came out, and tens of thousands of metal albums have copied every note of this album, with better production techniques and STILL I'm blown away by this cut. Consider that there was a time when I would hear this song almost every day! This is followed by the title track, an awesomely mid paced super heavy song, that is as melodic as it is pulverizing. And so it goes through the remainder of the album. One big jaw dropping event. Especially for 1984. The band had improved exponentially on an already impressive debut. The songwriting has an almost progressive rock quality to it. And the band made a conscious decision to take an intellectual Iron Maiden approach to the lyrics. So instead of metal armies, banging that head that doesn't bang, and other testosterone fueled brainlessness, Metallica opted to sing about the ethics of capital punishment, cryogenics, the anguish of contemplating suicide, the Egyptians perspective of Passover, and musical interpretations of Ernest Hemingway and H.P. Lovecraft. WHAT? How could any one band rewrite the rules so fast?

In effect, Ride the Lightning was so far ahead of the curve it would take years for anyone to catch up. One can argue that Master of Puppets is a stronger album, as it took the Ride the Lightning concept and improved on it. But it seemed a little more clinical and less of the moment. By ...And Justice For All, Metallica were reaching for even more creative ideas. But it wasn't right. Their heart wasn't what would later be called a progressive metal group. It was a bit too wooden for their own good, though still a fine album. And their playing of 'One' at the Grammy's was a watershed moment for heavy metal overall. From here they lost their way to the hardcore original fans... and for many others they were just about to be introduced to a more radio friendly Metallica. But back to 1984, Ride the Lightning has to be considered one of the most revolutionary albums ever made.

Ownership: 

1984 Music For Nations (LP)

2010 Vertigo Japan (CD). Papersleeve

8/17/84 (acquired); 6/25/09 (review); 8/10/15

Other albums I own and need to review: And Justice For All; The Black Album; Death Magnetic; Garage Inc.

6/25/09 (new entry)

Soft Machine ~ England

The Peel Sessions (1969-1971 / 1990)

Continuing on with the haven't-heard-in-forever project comes The Peel Sessions by "The" Soft Machine. This is a title I recall listening in the car quite a bit upon acquiring in 1996. And not again from then on. This is one of the earlier archival releases from the band, where they have been mined extensively since, most notably by Cuneiform. The first disc of this set had been released prior, as part of the 3xLP Triple Echo album, itself an archival release. In that way this is a reissue with a whole disc of bonus tracks. Soft Machine are a lot like Tangerine Dream in that their live material is mostly improvised, thus making each album unique on its own. To be clear, Soft Machine is working much closer to their original compositions than the true improv of T. Dream. Entirely different style of music which is the primary reason I suspect. One example is the made up lyrics of 'Moon in June' calling attention to their contemporary situation on the radio, complete with adverts. 

The music is comprised of six different sessions from 1969 to 1971 (the booklet leaves out 6/1/71). The first two years capture my personal favorite era of the group, and has them at their energetic best. The 1971 jazzy free improv sections are very much present (especially on 'Neo-Calibran Grides' and 'As If'), and are a bit lesser to my taste. However the entire two disc set does encapsulate the spirit of the original Soft Machine quite well.

Many of Soft Machine's archival albums overlap and run into each other. How many I keep is still up for internal debate. But for certain this title represents an essential entry. 

Ownership: 1990 Strange Fruit USA (2xCD). Cryptic liner notes.

1996 (acquired); 7/28/25 (review)

5 / Fifth (1972)

I've long been critical of this album stating it's more of a pure jazz album, and really a free jazz album at that (see below). Thus veering far away from my interest area in the band. A careful evening listen had me more sympathetic. Rather than avant garde jazz, I heard more of an atmospheric sound. A noirish type outing. Though there are some irritating bouts of noise that I'll never warm to, mostly Fifth does remain composed. And 'Drop' is Ratledge doing what he does best - fuzz out the organ and solo wildly. I've never owned this on LP, so it's nice to finally find one in the wilds (from our last trip to Detroit). Keeping for now.

Ownership: 1972 Columbia (LP)

1999 (first acquired); 6/21/25 (review)
 

Six (1973)

Of the first seven classic Soft Machine albums, the only one I do not have a grasp of is today's feature: Six. In fact, I believe this is only the second time for me to hear the sprawling double album, the first time some 20 years ago. In hearing it again last night, my appreciation levels went up considerably and I enjoyed a +1 listen.

The first album is a live recording and is a throwback to their 1969 era of music, where each song segues into the next. Recent woodwinds member Karl Jenkins adds a new found enthusiasm, and even Mike Ratledge seems to be having fun again poking around on his antiquated organ. While it missus the dusty aura of old reel to reels, and certainly has a smoother jazz tone, this will be the closest Soft Machine gets to their original roots. Ironically it also predicts the future, as Seven continues this motif into the studio.

The second album returns us back to the Third era, with long improvised unfocused tracks, but without the free jazz tendencies of the two predecessors, albums I never warmed up to personally. Again, Ratledge's organ and Jenkins saxophone lead the solo and melody parade. And while I didn't mention it for the first LP, the crack rhythm section of Hugh Hopper and John Marshall also sound energized. An excellent album overall.

Ownership: 1973 Columbia (2xLP). Gatefold.

2003 (first acquired); 11/21/23 (review)

Third (1970)

I had a colleague once who insisted that this one album - yes this one - is the greatest album of all-time. I had been turned off by Soft Machine early, having unfortunately started with Fourth and Fifth. That wasn't my thing then... and honestly they still aren't. Way too much free jazz, which I know many of you enjoy, but we all have our filters. But he was persistent, and let me borrow his commodity CD that I took to work with me everyday for a week. Back then I was still a computer programmer (~1992), so I brought my Discman and just let 'er roll throughout the course of the day. Over time, I understood where he was coming from. It would never be a favorite for me, but at least I could appreciate the inventiveness - and yes it's distinctive enough to be a favorite album for the right listener - I could see that. It was their transition from psych / prog to jazz. Because of this experience, I eventually bought the first two albums, ones I enjoyed immediately. But yea, for 1970 this is some extraordinary material. 

Ownership: 

1970 Columbia (2xLP) Gatefold

2007 Sony Japan (2xCD). Includes the full Live at Proms 1970 album.

1992 (first acquired); 5/10/13; 1/9/23 (review)

Softs (1976)

By 1976, Soft Machine - as one may have known them - were no more. Mike Ratledge was still hanging around but wasn't very involved. By this time you essentially had Nucleus calling themselves Soft Machine. And musically that holds true too. Soft Machine had gone from psych to prog (or Canterbury if you will) to jazz to jazz rock and now onto fusion. As with all the best albums in the latter genre, Softs gets a gold star due to the melodic songwriting versus any kind of show-offy chops display. The album is frontloaded with the best tracks like 'The Tale of Taliesin' and 'Ban-Ban Caliban'. John Etheridge's guitar is the highlight of the instrumental roster. I have friends that never cared much for Soft Machine, but enjoy this album since it intersects with their interest in all things jazz fusion.

Ownership: 1990 See For Miles (CD). Historical liner notes.

7//04 (acquired); 9/26/22 (review)

Volume Two (1969)

---12/20/18

A very unusual album, in that there's about 16 minutes of brilliant music and a lot of downtime / incidental sounds. The fact that it ends on a high note I think leads to a higher rating / reputation, but a focused listen reveals a lot of gaps. I'm hardly trashing the album at 4 stars - but I do feel I was also swayed by the strong ending as well. Side 1 in particular is pretty weak except for the monstrous 'Hibou, Anemone and Bear' which was a live staple for years. If wanting to hear this album in a more dynamic fashion, I would recommend the superb archival CD Noisette from Cuneiform.

---1/17/23

This listen confirms that sentiment. I think Volume Two has maxed out for me - not seeing how it goes to the first division. Too inconsistent, but the highs go way high here.

Ownership: 1969 Probe / ABC / Command (LP). Gatefold. 

1994 (first acquired); 12/20/18 (review); 1/17/23 (update)

Backwards (1970 / 2002)

Cuneiform are the gold standard for all things Soft Machine, and their dogged determination to release anything and everything worthwhile is to be admired. And in my world, anything pre 1971 is worth investigating, and then after that, it's hit or miss. Most of this album was recorded from concerts in May 1970, performed in London. In effect, it's Soft Machine Third live. The band is beginning to really stretch out into jazz norms, something they eventually crossed the threshold over to wholly - and less to my personal interest. I won't claim this one to be essential, like say Noisette is, but for the hardcore faithful, it most certainly is. 

Ownership: 2002 Cuneiform (CD). Historical liner notes.

2002 (acquired); 1/10/16 (review)

Other albums I own and still need to review: The Soft Machine; Seven; Bundles; Virtually; Noisette; Live at Proms.

1/10/16 (new entry)

Rare Bird ~ England

Rare Bird (1969)

Continuing on with my project of listening to albums I haven't heard in forever comes Rare Bird's debut. I lucked into finding a beautiful UK original (what a cover!) while traveling on business in Tampa - St. Pete way back in 1996. I cannot find evidence that I've heard it since I arrived home way back then. And in this case, I think that may have really been the only listen.

Rare Bird were one of the earliest bands to jump onto the burgeoning progressive rock scene. In fact they were the first band to receive a release on the iconic Charisma label. A four piece that features the unusual lineup of two dedicated keyboardists. One on Hammond organ solely (Graham Field) and the other on electric piano (David Kaffinetti). The music has plenty of psychedelic references, similar to the Pussy Plays album in that way. But whereas that album leans in on the Floydish Piper motifs, Rare Bird has more of The Nice buried within. I find the songwriting charming and engaging, something I doubt registered as much nearly 30 years ago. 

On that same fateful day I also found the UK original of As Your Mind Flies By, but it was much less to my taste back then and I sold it. We'll see if I find it again, and if my opinion has changed.

Ownership: 1969 Charisma (LP)

10/16/96 (acquired); 7/27/25 (review) 

Buddy Rich ~ USA

Big Band Machine (1975)

There are albums out there, without any reason at all it seems, that go for dirt cheap when demand should outstrip supply. Big Band Machine is an example of one of these albums. While I'm sure it sold decent copy in its day, it by no means is a commodity like the Sergio Mendes albums. I bring the latter up because much of his work is brilliant too, but at least the supply is so vast it explains their thrift shop status. And the fact this is the first copy I've found in six years of hard digging tells me it's not that common either. It takes only one influencer and you can bet these will dry up quickly and good luck in sourcing them again for $2. Regardless, it's the music that counts and with that...

Musically it isn't so different from The Roar of '74, an album that at least has some kind of following. It's big band music for the rock and funk crowd. The cover indicates a sort of staid performance, the bandstand loaded with members all dressed up to play the charted music on the stand before them. But the music isn't standards. Even the 'Tommy Medley' is barely recognizable as a Who composition. While Rich throws in a few drum solos, they are very short and purposeful, like most stage bands would do. The album rocks out nicely with plenty of jazz funk to enjoy. One of those albums you won't be able to sell, but why would you anyway?

Ownership: 1975 Groove Merchant (LP). Gatefold.

7/22/25 (review)
 

The Roar of '74 (1974)

The Roar of '74 represents the type of album I've been looking for in the wilds for some time. That of the rockin' funky big band sound. As a former stage band performer, we occasionally played some pretty cool tunes that made it fun. We also played standards that were necessary for a school band. The Roar of '74 opens with three very hot tracks that just won't let up. It shows the potential of big band in a rock setting. After this about half the rest maintain the funky goodness while the other three tracks are more of what would be expected. Reviews suggest - at best - this is nothing more than "cop show sh*t". Well... I happen to like "cop show sh*t". Buddy Rich was 56 or 57 when this was recorded. He was going hard late in life, especially for his generation. Also like the neat cover that represents the era well.

Ownership: 1974 Groove Merchant (LP) 

7/6/24 (review)

7/6/24

Djam Karet (& related) ~ USA ~ Los Angeles, California

Burning the Hard City (1991)

Continuing on my recent theme of listening to albums that I haven't heard in decades, up comes one of the oldest CDs in my collection. According to all of my paper trails, and they are significant in scope, the last time I heard Burning the Hard City is when I bought it - upon release in 1991. However I know that isn't true. I recall listening to it many times during the 90s. Even back then questioning if it was something I needed to keep.

As noted below on the Suspension & Displacement review, I preferred this title to that one, but now I'm not so sure. After devouring (had to do it) the contents one singular evening, I would say that I now appreciate both at the same level. It was obvious back then what Djam Karet were up to, and it still is. They had two distinct sides of their sound, so why not distill each in concentrate form? This is a trait we often see in Japan, where they wring each idea to death so there is nothing left to the imagination. Fortunately for us listeners, Djam Karet happens to be very adept at both electronic and space rock. As well as prog and jazz fusion. They are a versatile bunch. At the time of release, and in retrospect, I do think they would have been better served to mix and match for a cohesive sole album. Similar to Reflections From The Firepool. The philosophy of more is better was prevalent in the abundance days of the 90s. Formerly restricted by the length of the vinyl LP, bands now had more freedom to put out anything they felt like. Especially since CD production costs had become a commodity in a very short time.

As it turns out, I was very familiar with the contents of this album despite a 25+ year absence in the changer. No notable highlights, but safe to say, if you enjoy the jamming heavy psychedelic nature of Djam Karet, then Burning the Hard City should resonate well. At this point, I'm sure I'll hold onto both of them for the long haul.

Ownership: 1991 HC (CD)

1991 (acquired); 7/7/25 (review)

Regenerator 3017 (2014)

Regenerator 3017 is a good example of an album I had zero recollection of. I had it categorized in my space rock collection, like many of their others. Wrong. This is a mellow instrumental progressive rock, oftentimes falling into jazz fusion or even jazz funk. Plenty of great lead guitar that the band is known for, along with mellotron and thoughtful rhythms. This was their 30th Anniversary album that flew under the radar. I bought it dutifully when it came out and didn't give it the proper attention. This was to be the last Djam Karet album for me to buy, and that is likely to remain the case (unless I find them in the wilds, or someone is giving them away). I find it makes an excellent bookend to my already extensive collection by the group. A good place to rest.

Ownership: 2014 HC (CD). Digipak.

11/25/14 (acquired); 12/23/23 (new entry)

The Ritual Continues (1987)

For context first read my review about Reflections from the Firepool. After purchasing that CD, I immediately went back to the mail order dealer and acquired the tape of its predecessor, which is the album of today's discussion. That tape is slightly different than the CD I now possess (which wasn't released until 1993), but essentially is similar from a musical perspective. This album captures Djam Karet going from the raw jams of their debut tape No Commercial Potential to the relatively composed Reflections from the Firepool. Opener 'Shamen's Descent' is arguably the finest track here, mixing the exotic psychedelic jam with progressive rock complexity. 'Technology and Industry' is another highlight. If you do have the CD, then you'll be treated to the most Krautrock oriented song in 'Tangerine Rabbit Jam' performed by Happy Cancer, who is Djam Karet's direct ancestor. Some of the album can meander a bit, but it's in the spirit of naïve exploration, a most welcome trait in an era that frowned on such activity. Had this been a newer release, I wouldn't be overly enthused, but given its place in history, I feel the album deserves much praise. An enjoyable album throughout and one of America's pioneers of new psychedelic oriented music.

Ownership: 1993 HC (CD). Two bonus tracks from Happy Cancer and one extended rerecording that was new to this issue. The original cassette does feature some unique material not on the CD.

1989 (first acquired); 1996 (CD acquired); 12/1/14; 9/7/23 (review)

Suspension & Displacement (1991)

Bought this when it came out, famously with its cousin CD Burning the Hard City. For most of that time since, I held the other CD as the better of the two. Now I'm not so sure. My mental image of Suspension & Displacement was that of a boring electronic / space rock album. But I had dismissed the full band effort here, and there are many organic moments, including much needed warmth instruments like acoustic guitar. A definite +2, and I have a whole new outlook on this, some 31 years after the fact.

Ownership: 1991 HC (CD)

1991 (acquired); 3/10/18; 4/6/22 (review)
 

The Devouring (1997)

When this came out, I think we were all relieved that Djam Karet were back on track. Even to this day, it's arguable that The Devouring is their most fully realized work. The opening three cuts are brilliant hard rock / psychedelic / progressive instrumental tracks. It would be tough to expect them to maintain that pace, but the album miraculously never wanders off too much, though it gets a bit samey towards the end. I have most of the Djam Karet catalog, but I'm not sure how much will stick around. But for certain this, along with the first one I bought - Reflections from the Firepool, most certainly will. 

Ownership: 1997 Cuneiform (CD)

1997 (acquired); 2004; 12/27/19; 6/11/20 (review)

Reflections from the Firepool (1989)

Reflections from the Firepool is where Djam Karet went pro. Prior to this, their releases had been more jam oriented, with far less focus on composition and melody. It's also the album where I was first introduced to this fine long running band from California. I picked up the CD from a mail order dealer not long after release, and was subsequently blown away.

To understand this, one must go back to 1989. It was a time of optimism for many reasons, but all one needs to remember was the basic collapse of The Warsaw Pact on a nearly weekly basis. Tyranny was out and Freedom was in. On the music front, after years of dormancy, the psychedelic guitar was being brought back to prominence. Djam Karet, along with Tangle Edge and Ozric Tentacles were leading the charge and using the instrument not just as an accent, but rather as a focal point. This wasn't the 80s indie rock / neo psych hybrid that was popular with the post New Wave crowd, on the contrary, these new groups had in mind Ash Ra Tempel, Amon Duul II, and Gong - along with other such great bands from the early 1970s.

'The Sky Opens Twice' is a perfect opener. As I read other reviews, there seems to be a unanimous chorus that the album is nothing more than loose instrumentals. This is far from the case here. While certainly there are some incendiary guitar jams sprinkled throughout, that of course is what this listener (and my peers) would hope for. The payoff of the investment as it were. Other highlights include 'Run Cerberus Run' and the title track. Perhaps only 'All Doors Look Alike' with its incongruous free sax blowing on part 1, and the second half of 'Scenes From the Electric Circus' aren't up to snuff (though the first part of this track is super).

All in all, Reflections From the Firepool is the album that put Djam Karet on the map. They sort of lost their way in the early 90s, only to come back ferociously with The Devouring, and never looked back again. For my tastes, Reflections From the Firepool is a very important work of the latter 80s, which ushered in numerous other bands who followed suit in the very interesting and productive 1990s.

The LP leaves off two very good to excellent lengthy tracks to fit the format: 'Scenes From the Electric Circus' and 'The Red Monk'.

Ownership: 1989 HC (CD)

1989 (acquired); 7/30/18 (review) 

No Commercial Potential (1985)

Djam Karet's debut album, the cassette No Commercial Potential, was a true anomaly when released in 1985. The concept of long form, psychedelic guitar driven rock instrumentals, was an extinct concept in the mid 1980s. Whereas LS Bearforce released the homage to early Guru Guru in 1983, Djam Karet had taken the idea of combining mid period King Crimson mixed with any number of west coast late 60s psychedelia bands. And yes, with more than a hint of Krautrock as well. Djam Karet were born out of a (still operating) California record store, and it's no accident they possessed the historical capacity for musical research. Quite simply, they were considerably ahead of their time, and by the 90s many were following their lead, arguably to lesser success. It must be said, the title is as accurate as any in history.

Ownership: 2004 HC (2xCD) With ...And Still Getting the Ladies.

1/5/08 (acquired); 8/12/17 (review)

Fernwood - Arcadia (2015)

Fernwood are the California based duo of Todd Montgomery and Gayle Ellett, the latter most known to progressive fans as a member of Djam Karet. They each play a tremendous amount of (primarily stringed) instruments, including but not limited to, Greek and Irish bouzouki, sitar, banjo, dobro, mandolin, tenor ukelele, violin, and... Moog, Mellotron, organ, Rhodes, and electric guitar. Despite the presence of these latter instruments, the music is always calm and peaceful. In fact, I would like to use a term that Fernwood best represents. Unfortunately it has become somewhat of a pejorative, but shouldn't be regarded as such. And that term would be New Age.

35 years ago, the New Age movement had just begun and offered up a promising style of music that promoted music from around the world, generally in a tranquil, cosmic, and meditative manner. But it didn't take long for labels such as Windham Hill and Narada to turn the style into an almost Adult Contemporary pop music, perfect for bored rich housewives sipping sangria before their next yoga class.

Fernwood returns us to the original spirit of the genre, recalling pioneers such as Popol Vuh, but taking it to the next level. There are 11 tracks here, each as spellbinding as the next. Typically, I'm not fond of music such as this as I generally hear it, quite frankly, as dull. And yet I found myself transfixed and swept away by the blend of sounds created here. The production is stunning, and provides the crystal clear sound music like this needs to breathe.

Ownership: 2015 private (CD)

5/12/15 (review)

Other Djam Karet albums I own and need to review: Still No Commercial Potential; ...And Still Getting The Ladies; New Dark Age; A Night for Baku; Recollection Harvest; The Trip

5/12/15 (new entry)

Witch Blade ~ Sweden

Månsken (2022)

For whatever reason, I'm finding more and more new LPs at deep discounts at record stores here in Colorado. To me it does signal that the LP boom of the last decade, and especially the pandemic, has subsided. That generation has now grown up and have other responsibilities. So those of us who hopelessly never stopped collecting vinyl can scoop them up for cheap. And then probably get stuck with them for the rest of our lives... But does it matter?

With that prelude out of the way, what does Witch Blade musically bring to the table? Old fashioned early 80s styled heavy metal. At that point where hard rock bands were adding muscle and some fantasy themes. Oftentimes proggy in nature but not compositionally so. A non British NWOBHM as it were. The other endearing aspect of Witch Blade is the group sings defiantly in their native Swedish. And they make a big deal out of that. I love native languages in music, so sign me up. Don't expect too much here. Eight solid workmanlike tracks, all easy on the ears if you are familiar with the NWOBHM style.

Witch Blade takes me back to an exciting time in the late 80s and early 90s when new vinyl LPs were coming out with a distinct look backwards (I'm thinking of the Colours label as but one example). The packaging of the LP is addicting: Great cover art, a well made but primitive booklet, poster, postcard, sticker, and probably something else I can't remember (album is filed).

Ownership: 2022 Dying Victims (LP). Details above.

7/1/25 (review)

Supersister ~ Netherlands

To the Highest Bidder (1971)

As with all of my Supersister collection, I first obtained this album in my "pre documentation" phase. And like most of the others, it's been well over 20 years since I last heard it. According to RYM and the specialist Prog Archives site, To the Highest Bidder is their singular best achievement. My memory didn't have it that way, and I recall always being slightly disappointed with the album despite appending an excellent rating for it. As the follow up to Present to Nancy, the bar was exceptionally high to clear and To the Highest Bidder fell a bit short in my estimation. With countless other influences entering my thought process, would a recent deep dive with To the Highest Bidder change my perspective?

No. In fact, my reaction has been the exact same since 1993. That is, I prefer the debut. And my high rating remains as well. Even though I hadn't heard the album in ages, I found myself quite familiar with the contents. Indicating that I had for certain dissected the album prior, just without any corroborating notes to support. 

The album opens with its strongest cut 'A Girl Named You' which is largely a continuation of Present From Nancy. Has the same tight rhythmic structure and beautiful flute / keyboard interludes. The breakdown, for me anyway, occurs on 'No Tree Will Grow', a rather maudlin piece. While artistically well done, it doesn't display the optimistic magic the band traditionally projects. Seems to be on the wrong album by the wrong band. Side two is dominated by 'Energy', a lengthy track that possesses various fits and starts. The "go" patterns are aces but there is some curious down time as well. The way-too-short closer 'Higher' brings me back to the Supersister I love with its "running through the fields of happiness" aura.

The UK Dandelion LP includes the single 'She Was Naked' which is missing on the Dutch originals. 

Ownership: 

1971 Polydor (LP) Gatefold

1990 Polydor (CD) with Present From Nancy.

1993 (acquired); 1995; 7/17/25 (review)  

Memories are New (1971 / 2000)

Even though I consider Present from Nancy as one of the greatest progressive rock albums ever made, I'm not overly familiar with anything else the band released, though I've owned them all going back to the late 1980s and early 90s. Because of this strong affection with their debut, it didn't take much convincing for me to purchase Memories are New not long after release. Like with so many of my purchases, I listened to it upon receipt and filed it away. Nearly 23 years later while physically looking at my collection, I see this CD and have absolutely no idea what it sounds like. Is it even worth keeping? Well, let's see... Memories are new after all.

Memories are New is really three albums in one, and the documentation of what it contains is poorly handled. The first four tracks (~26 minutes) are from a live concert (no idea where and when) that contains some of their best work from Present from Nancy and Pudding and Gisteren. There's a short undocumented interlude that leads to the only provenance noted here: An NDR radio concert from April of 1971. These seven songs (~24 minutes) are very interesting. Some familiar Supersister themes are infused with new material and the studio's home orchestra. In reading other reviews, many aren't keen on this symphonic approach, but I think it represents the meat of the release, and makes it worth owning. It isn't an academic high brow exercise, but rather a true mix and match of instrumentation and style. The "third album", as it were, is what appears to be pre-Supersister recordings (~10 minutes). We're left to believe these come from the late 60s, at least based on what I've found. Fun to hear Supersister in their developing stages moving from freakbeat and psychedelic into prog. 

To conclude - one hour of previously unreleased Supersister, mostly unique in both sound and composition. +1 listen for me.

Ownership: 2000 Soss (CD). Booklet contains memorabilia scans. 

2001 (acquired); 11/4/23 (review)

Pudding en Gisteren (1972)

As noted below, I consider Supersister's debut Present from Nancy one of my Top 50 albums, maybe even a higher bracket. But each subsequent album moved away from the Canterbury core of that brilliant work, and by this 3rd release, Pudding en Gisteren is embracing the Zappa world of silliness more and more. Which resulted in a -1 listen this go round. Having said that, I wouldn't want to consider my collection without Pudding en Gisteren, but the thrills per minute are substantially diminished. For me those highlights include the first half of 'Judy Goes on Holiday' and portions of the side long title track, which maintain the Soft Machine II motif that make Supersister so enduring.

Ownership: 1972 Polydor UK (LP). Die cut gatefold. Perfect cut, with no tears which we see sadly too often. 

1992 (acquired); 10/17/21 (review)

Iskander (1973)

Iskander is Supersister's 4th LP, and steers the band from an insouciant Canterbury styled group toward a more traditional prog rock concept album. Still, on close inspection, one can hear similarities to their first three albums, and there's plenty of familiar rhythms and melodies that one recognizes from the world of Soft Machine. It's just not as overt. So if one thinks of Iskander as played by neighboring Trace, rather than the predetermined expectation of what Supersister should sound like, the album opens up in a big way given this new perspective.

Then there's the presence of American WWII vet and famed jazzer Charlie Mariano on sax and flute. He was in his own discovery phase of life, moving on from his hometown Boston and his underground psych / prog / jazz group Osmosis, and digging deep into the European scene. It appears he spent most of 1973 in the Netherlands, first jamming with flutist Chris Hinze, before hooking up with Supersister - an odd combination that doesn't necessarily gel as one would hope (Supersister weren't a jazz group for certain). Mariano was to eventually head back to Germany and jam with Embryo for a couple of years, which was a better fit for the talented saxophonist.

Overall, Iskander is more consistent than its predecessor, but lacks the charm of the early albums. Objectively though, an excellent album if you approach it on its own terms.

Ownership: 1973 Polydor (LP). Gatefold.

10//88 (acquired); 4/14/18 (review)

Present From Nancy (1970)

Present From Nancy is a top 50 album for yours truly. At this point they were a bunch of teenagers who studied Soft Machine Volume 2 and somehow managed to improve on it. Perhaps it's the single minded focus that youth can possess, while employing a yet-to-be-disillusioned imagination. Whatever the case, Supersister distilled the best parts out of Soft Machine and Caravan, and left an artifact for the ages. Stips' keyboard playing is top notch, employing the fuzz organ as much as possible, while the remainder of the band puts the tight and complicated rhythms together behind him. Add some beautiful and melodic flute, and the soft affected vocal style that the Dutch seem to have mastered as much as the English, and you have an album that is irresistible.

Ownership: 

1970 Polydor (LP). Gatefold. First pressing

1990 Polydor (CD). with To the Highest Bidder.

1993 (acquired); 3/9/10 (review); 3/17/17

3/9/10 (new entry)

Ejwuusl Wessahqqan ~ Germany

Ejwuusl Wessahqqan (1975)

There was a time, perhaps even still true, where I would seek out bands with names like Ejwuusl Wessahqqan. The more exotic, the less commercial, the better as far as I was concerned. Their music isn't quite as out there as the moniker suggests, but it nonetheless does meet the non-commercial purity test. The music is more towards an earlier era, that of Trikolon or even the Dutch band Ellufant. Essentially a three piece who play long form instrumental organ jams, fuzzed out properly. And the bassist brings along his own stringed creation called the Filouphon, drawing comparisons to Patrice Moullet (Alpes) and his Cosmophone. Despite the premise, the album does hold ones' attention for its duration, showing some adeptness at free form jamming. 

The CD adds 17 minutes more of similar from a year later. Even better might be the 10 minutes from their 1980 incarnation known as Koala-Bar, though the band doesn't appear to have moved beyond their 1972 premise. Maybe a bit more composition is now being applied.

Like many albums in my collection, I haven't heard Ejwuusl Wessahqqan in approximately 25 years. The only recorded date is when I purchased the CD, pretty much as soon as it was released. Since the band name is so unique, I even scoured formed prog rock chat boards to see if I threw in a few sentences description. Not only did I not find anything from me, but the album has rarely ever been spoken about by anyone. Once obscure, always obscure I guess. That's what happens when you name your group Ejwuusl Wessahqqan*. I'm pretty sure I heard the album another time in the 1998 to 2002 time frame, but I wasn't taking diligent notes back then.

Though I did find that I posted an old want list in early 1996 that included this album. Yea good luck with that Genius Hans. I probably was just showing off that I knew of it haha. Today it's a four figure rarity, and I have no desire to own it, unless I somehow find it in the wilds (hey, you never know). The CD offers much more regardless. I must've came to the same conclusion 29 years ago, as the album fell off the want list that same year.

*If curious, the band name comes from a short story by Clark Ashton Smith called The Weird Of Avoosl Wuthoqquan. The Weird Of Somethin' I tell ya. Strangely this title is not mentioned in the historical liner notes.

Ownership: 1996 Penner (CD). Booklet with history, photos, and the four bonus tracks as noted above.

1996 (acquired); 7/12/25 (review)

Solution ~ Netherlands

Fully Interlocking (1977)

Solution's 4th album continues their evolution of sound. On Fully Interlocking they mix smooth jazz rock with an AOR sensibility. Other than A1 and B3, the album is instrumental. The grooves are irresistible and the melodies are sublime. A2 and A3 are particularly strong. The star of the show isn't Tom Barlage this time, but rather Willem Ennes, whose synthesizer tones are truly timeless. Reminds me of Franklin Street Arterial for you deep divers. Only B3 can be skipped and an unfortunate close to an otherwise great album. Fully Interlocking is a step up from its last two predecessors, and sits in second place against the almighty debut. One of those under the radar classics no one talks about. A late era release by a group where it seemed their best days were behind them. Though it appears their last two albums after this see Solution fall off the cliff, I still wouldn't mind giving them a shot.

Strangely, Fully Interlocking was clipped from the American release schedule. It wasn't until four years later that the album received a release on the First American label (misnomer apparently). By 1981, the type of music Solution is peddling here was long out of fashion.

Ownership: 1977 Rocket Record UK (LP)

7/13/25 (acquired / review)
 

Cordon Bleu (1975)

Solution's third album follows a similar trajectory to that of Germany's Passport. The overall sound is that of a friendly jazz rock with a progressive rock heritage. Solution remains slightly truer to the latter genre, and even includes sparse vocals. I found Side 2 more pleasant to the ear, and it was enough to find shelf space, something the sophomore effort failed to do.

Ownership: 1975 Rocket (LP)

5/23/25 (acquired / review)
 

Solution (1971)

Strong debut from Solution, a fuzz-laden organ and sax / flute driven band from The Netherlands. The primarily instrumental music is highly melodic, a common and much welcome trait among Dutch progressive rock groups. On this album, Solution reminds me of fellow countrymen Pantheon and the Danish Burnin' Red Ivanhoe with props to the overlord of this kind of sound - Hot Rats era Frank Zappa. In fact, 'Circus Circumstances' sounds like Samla Mammas Manna playing the music of prime Zappa.  'Koan' and 'Trane Steps' are the best tracks here, but no weak moments are to be found. 

The cover is also one of my all-time favorites. I love the little kid on the tricycle with his life-vest "solution" riding along the canal, which is priceless. The snapshot of a quiet sunny 1971 neighborhood in Holland (Spaarnwoude apparently) is also great. 

Ownership: 

1971 Catfish (LP)

2012 Esoteric (CD) Liner notes and photos.

1994 (acquired); 9/8/12 (review)

Divergence (1972) 

What a dubious opening for Solution's second album Divergence - the first six minutes of 'Second Line' mounting to nothing more than a crooner's piano ballad that is painful to endure. But the last two minutes of said track offer hope for those of us who adored their debut album. The following title track will remind most folks of Focus, and that's because it was included as part of the 'Eruption' track as found on Moving Waves, though the organ and sax breaks found here are entirely their own. 'Concentration' veers dangerously close to being a proto Kenny G, when the music suddenly takes a dark turn to the skanky bar on the corner. And after the drunks have left, the band gets down to business and proves their instrumental worthiness. The album closes as it starts, and is the death knell. I can only shake my head, as the immense brilliance of the debut is pretty much lost here.

Former ownership: 1996 EMI (CD). Was included with the debut album (minus one track), but I swapped this CD for the Esoteric version which doesn't have it.

2004 (acquired); 9/8/12 (review)

9/8/12 (new entry)

Anna Sjalv Tredje ~ Sweden

Tussilago Fanfara (1977)

---12/30/10

Anna Själv Tredje were very much in the Tangerine Dream / Klaus Schulze electronic genre, but with a distinct Swedish twist and some wonderful offbeat space jams with lead electric guitar. Features one of my all time favorite album covers!

---7/5/25

A succinct review, but it does capture all the ingredients. This is my first listen since the CDRWL revisit. A very interesting one-off, the album captures all that was great about the 70s electronic movement. The use of electric guitar adds the space rock feel that we also hear in bands like Ashra, and especially those in France like Richard Pinhas / Heldon, and Hydravion. Some of the more static and academic electronic recalls very early Klaus Schulze at the time of Irrlicht or Cyborg. Trance inducing.

Tussilago Fanfara remains one of the most requested albums for a reissue of any sort (as of 7/13/25), as originals have skyrocketed in recent times. I acquired my copy when it was still relatively cheap to obtain (and brand new no less).

And yea, I still agree that the cover is mind melting. It's on regular display here at Casa UMR.

Group is technically spelled: Anna Själv Tredje

Ownership: 1977 Silence (LP)

1990 (acquired); 12/30/10 (review); 7/5/25 (update)

7/5/25 (new entry)

The Fents ~ USA ~ Los Angleles, California

First Offense (1983)

---4/29/12

There's no question that First Offense is of 1983 vintage, especially after taking in the opening track. Funky slap bass, synthesizers, and slick production qualities are laid out early and offer a somewhat dubious beginning. Perhaps a First Offense indeed. But The Fents were far more interesting than that, and as the album unfolds, a sophisticated blend of instrumental jazz and rock emerges, with complicated rhythms, smoking solos, and grittier sounds. The band themselves were influenced by some of the leading fusion artists of the day like Bruford, Holdsworth, and Dixie Dregs, and those artists' fingerprints are all over this.

---7/5/25

In hearing the album for the first time since, I also wanted to mention how melodically strong the album is. The album continues to shine when others of its ilk have lost their luster over time.

Ownership: 1983 Not Yachting (LP)

4/29/12 (acquired / review); 7/5/25 (update)

The Other Side (1987)

I've been familiar with The Fents going back to the late 80s (thanks to PPR Jeff), but this is the first time for me to hear their second, more widely available album. It skipped the CDRWL project since it was released on CD from the beginning. I finally secured a copy at a local store. I'll be honest I didn't have high hopes for it, figuring it would be too modern, slick, and digital for my tastes. Something akin to Spyro Gyra for example, minus the saxophones. And if keyboardist Adam Holzman had it his way, they would have succeeded to fulfill my prophecy - his tones scream late 80s. But guitarist Ted Hall would hear none of it, and he's blistering away on his guitar with a sound from a decade prior. Calling up the collective spirits of Terje Rypdal and David Torn, Hall rips, especially on side 2 as the album begins to creep into the consciousness. My listen started in the good territory and eventually landed on great. Plenty of room for growth here. Nice surprise.

Ownership: 1987 Passport (LP)

4/2/23 (review)

Both the debut EP and First Offense have yet to be reissued as of 7/13/25.

4/2/23 (new entry)