Argent ~ England

Counterpoints (1975)

About four years ago I was on quite the Argent kick. They were a band I largely ignored until finding the live album during the pandemic. That was then followed by Nexus and the box set that possessed their first four albums. I since sold Encore and the box, with the anticipation that I would eventually find the Argent studio albums on vinyl. But that surprisingly didn't happen, and Counterpoints is the first one for me to find in the wilds since 2021. It's also the end of their trio of progressive rock albums before essentially calling it a day as a band. I've put my views on the box set at the end of this post, and perhaps I'll flesh each out individually as I find them. I haven't heard Counterpoints or its predecessor Circus, so it's time for me to get back on the Argent saddle. 

Mellotron on the opening cut, and yes, heavy counterpoint on tracks 2 and 3 immediately point to both Yes and Gentle Giant right up front. The next song sort of floats by and then we're introduced to the jazz fusion side of the band to close out the side. No doubt Phil Collins bringing his Brand X influence with him. Guitarist John Grimaldi gets to show off his chops here. B2 is the type of song Russ Ballard would throw in, so it's placement here is unnecessary for their new direction. B4 is another curveball and reminds me of Santana at his soulful best, complete with mellotron no less.

Interesting to read that both RYM and ProgArchives have this album rated quite low. And I wouldn't be surprised if Gnosis was there as well. It's a mite inconsistent and it doesn't possess any real highs, but it is solid 1975 English prog fare. I also noticed the 3rd track is called 'Time' and I was strangely reminded of the post Spontaneous Combustion group. Perhaps not that all-in progressive, but there are moments that had me thinking about them. Also Druid sort of floated to the top. Yea, I'm keeping this.

One other curiosity: Counterpoints has never been reissued legit on CD. Sure, there's the always questionable Big Pink version, but nothing that screams specialist label. Seems like a rescue project for Wounded Bird or Iconoclassic.

Ownership: 1976 United Artists (LP)

8/30/25 (acquired / review)
 

Nexus (1974)

By this point, Argent are two completely different groups. One is lead by Argent and bassist Chris White; the other by guitarist Russ Ballard. And never the twain shall meet. Argent and White are pretty much in full-on Yes territory by this point, and all their compositions are very satisfying. Ballard is busy trying to create hits, though mostly he succeeded at writing some good hard rockers this go round, especially on side 2, which he pretty much owns. I found myself enjoying this one quite a bit.

Ownership: 1974 Epic (LP)

3/14/21 (acquired / review)

  

Encore (1974)

All these years later, and I really don't know much about Rod Argent's music. Some of his work with The Zombies of course. And then 'Hold Your Head Up' was still getting regular radio airplay in the late 70s and early 80s. I was always intrigued by that song, though honestly it never seemed to hold my attention for the track length. And that's about all I knew. Their albums have always been easily available, but I never bothered to investigate. So when this double live album found its way to a local thrift shop - and in excellent condition - what the heck, let's blow the $2 and see what happens. As the track lengths indicate, Argent stretches out instrumentally in a live setting, and this works to their advantage - or so it seems. Though I'm not familiar with the studio versions as noted above. The reviews I've read are mixed about this live effort. Argent himself makes these compositions work, with some fine organ soloing and mellotron bits. Of course there's plenty of guitar from Russ Ballard as well. Good place for me to start. I'll definitely be digging in the bins for their studio albums too.

Former ownership: 1974 Epic (2xLP)

8/6/20 (acquired / review)

Original Album Classics. 2009 Epic Legacy (5xCD). I don't really have much background with Argent, so finding this box set with the rest of the sale was a thrill. I discuss my history with Argent on the Encore post as well as on Nexus, which is the 5th album in this set. And probably my favorite. The debut still has a Zombies leftover psych feel. It's a very good album, though maybe not enough to convince me to pursue further. Along with Nexus, I think Ring of Hands is the best album here. Very strong early progressive rock work, with superb organ and guitar. All Together Now loses some of the momentum, though it features their most known (and excellent) cut 'Hold Your Head Up'. In Deep is even lesser to my interest as Argent are getting further away from progressive rock, and more towards standard radio fare. Fortunately they reversed gears on Nexus. This box set has no bonus tracks to supplement. Since I already have Nexus on vinyl, I can let this one go, and will look for Ring of Hands separately (LP or CD depending on what I find). I don't think the debut and All Together Now would survive on their own, though both definitely are worth checking out.

10/26/21 - 10/27/21 (acquired / review)

8/6/20 (new entry)

D.F.A. (Duty Free Area) ~ Italy

4th (2008)

4th is another one of those albums I haven't heard since acquisition. This would prove to be D.F.A.'s last album due to tragedy. It is possible they could return but nothing has transpired. The album title is a bit of a misnomer since their 3rd album was a live effort culled from the two albums below. 

Speaking of those two albums, 4th takes those as a base and you can tell they've really progressed on a professional level. What makes D.F.A. so great is their ability to craft memorable melodies inside of the intense and edgy instrumental work. They provide rough analog fuzzy rock within the confines of jazz fusion. Making it more progressive rock oriented than what we usually hear coming from the jazz school. I love the acidic guitar tone that Silvio Minella obtains. Plenty of Hammond organ and flute as well from Alberto Bonomi to add to their adoption of the 1970s sound. The counterpoint mentioned below is still in full force here. This is an album that is both exciting and difficult to predict. The kind of progressive rock that captured my imagination at age 15, and some 46 years later that I still love and enjoy.

All three D.F.A. studio albums proved to be brilliant works. I'm not sure what else the band had left to prove anyway, though I know they would have liked to end it on their own terms.

Ownership: 2008 Moonjune (CD). Tri-fold digipak with lyrics, recording details, and band photo.

2008 (acquired); 8/25/25 (review)
 

Lavori in Corso (1996)

When this album first hit the scene, it was a marvel. One of the most exciting releases from Italy, and it really has nothing to do with classic Italian prog. Rather it is rooted in complex fusion with hard rock overtones. Just demonstrates that having a digital sound doesn't mean the album has to suck. D.F.A. (Duty Free Area) - along with others from the 90s - proved that. The music here is jumpy, melodic, kinetic, and constantly challenging. I've owned it since it first came out, and 24 years later, it sounds as great as ever. Don't miss out, if this is the first time you're hearing of the D.F.A. name.

Ownership: 1996 Scolopendra (CD)

4//97 (acquired); 4/29/20 (review)

Duty Free Area (1999)

D.F.A. play what I'd call counterpoint fusion with a space rock edge. They should trademark their sound, as I can't think of anyone who sounds quite like them. A little bit like Deus Ex Machina maybe, in their most intensive instrumental sections. The often jagged rhythms seem to create a sense of urgency, when it is really a facade. But it's a great trick, and keeps me completely immersed into the music. Top that off with some vicious solos right out of the space rock school, perhaps even with a modern bent ala Ozric Tentacles.

Ownership: 1999 Mellow (CD)

2000 (acquired); 2/14/10; 6/28/11 (review); 10/14/23

6/28/11 (new entry)

Kraftwerk ~ Germany

Kraftwerk (1970)

After taking in Kraftwerk 2 for the first time in many years, how does the debut sound to me? I always considered this their masterwork, an album that was at the vanguard of the Krautrock movement, a genre the band moved away from quickly. 

The opening echoed flutes and hypnotic drum pattern (real drums at this point) that slowly increases its pace, is the perfect start. Conny Plank's fingerprints are all over this with phasing galore, almost defining the term Krautrock for us before our very own eyes and ears. After this rocking opener, the real experimental sets in with 'Stratovarius'. After the musique concrete start, we are treated to some psychedelic guitar in the same reckless manner as Tangerine Dream's Electronic Meditation, not something one would normally associate with Kraftwerk. 'Megaherz' is an ambient piece built around the organ, paving the road for a subgenre that was years away from fruition. Closer 'Von Himmel Hoch' has the perfect doomy Krautrock electronic atmosphere that leads to a rocking middle. Then back to an experimental bit before jamming out hard on the keyboards (some kind of early synthesizer), fuzzed out bass, and funky drums.

Overall the album reminds me of the excitement surrounding the exploration of new music within a rock setting. The German underground of 1969 to 1972 is the epitome of that mindset. Kraftwerk's debut is one of those pillars.

Ownership: 1973 Vertigo UK (2xLP) with Kraftwerk 2. Gatefold.

I don't show a lot of documented listens, but I absorbed this album quite a bit in the 90s.

1996 (first acquired); 8/25/25

Kraftwerk 2 (1972)

The second effort from Kraftwerk is not an album I previously warmed up to, though I've been familiar with it for 30 years. I suspect it's because, to my ears at least, a far cry from their debut which is something I hear as a Krautrock classic (see above). So rather than listen to these in order per the double LP that I currently possess, I reversed the sequence to see how I would respond.

Much better I'm happy say. The A-side has their familiar bouncy repetitive sound with flute and guitar grounding it to the Krautrock circuit. The flip side is very experimental, at the level of Cluster (1971) and Tangerine Dream's Zeit. It's not an easy listen, but works well if one is in a calm state of mind.

Interesting to note that many fans consider this their worst album. It's certainly their least accessible.

Ownership: 1973 Vertigo UK (2xLP) with Kraftwerk (1970). Gatefold.

1996 (first heard); 2008; 8/25/25 (review)
 

Autobahn (1974)

Probably the most famous of electronic albums coming from the early 70s, Kraftwerk managed to popularize a style that isn't necessarily geared for the masses. Not sure Autobahn is geared for that either, but the fact remains it was a big hit in its day. Perhaps more novelty driven than based on serious critical study. It's tempting to dismiss Autobahn as simplistic elementary school electronic music. Prep work for the serious albums of Tangerine Dream and Klaus Schulze. But that's just snobbery really. Kraftwerk had a different, perhaps pioneering outlook, even though they started like the rest of them as a wild and wooly Krautrock outfit. Honestly you can hear Tangerine Dream themselves copying the concepts of this album in the early 80s. The boys from Cluster leant an ear to it, that's for certain. If taking out the historical context, Autobahn is a pleasant listen, ironically nothing too forceful or impactful.

Ownership: 1974 Vertigo USA (LP)

10/21/19 (acquired); 4/20/23 (review)

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Other albums once owned: Ralf & Florian

Perhaps unbelievably, but I haven't heard any of their classic works post Autobahn. It wasn't the type of music I was seeking out in the 1980s and 90s. Today I'm very much up to hearing them. I'm sure I'll find them eventually and report as I go.

For whatever reason, Kraftwerk has completely disowned their pre-Autobahn past (including Organisation) and refuses to allow for legal reissues (as of 8/25/25). Probably the most popular albums, in my collection at least, that never have been reissued.

4/20/23 (new entry)

Scarlet Thread ~ Finland

Valheista Kaunein (2006)

---9/5/07

Scarlet Thread are another one of those great modern Scandinavian bands with an organic, rural feel – and completely psychedelic. The group is comprised of five musicians with dual electric guitar and violin as the main solo instruments. I really enjoyed the first album and Valheista Kaunein is similar. Also features two guest players on flute, adding one more fantastic dimension. File next to the Swedish groups Grovjobb and first album Gosta Berlings Saga.

---8/25/25

I was finally able to cobble all of my random thoughts about Scarlet Thread in one place. It certainly isn't a band I have listened to very much, and I had it in my head they were more of a psychedelic flute styled group. But really violin is their key instrument to go along with the strong dual guitar leads and guest flute. I will also offer that Valheista Kaunein is more intense at times and isn't always laid back and "rural".

Ownership: 2006 Musea (CD). Booklet with recording details and one band photo.

9/5/07 (acquired / review); 8/25/25 (update)

 

Psykedeelisia Joutsenlauluja (2003)

---2004

Scarlet Thread's debut is simply laid back instrumental psych. Completely organic, tripped out with violin and guitar leads. Very Scandinavian - more from the Swedish school, rather than Finland where these lads are from. The only other group working in this capacity these days is Grovjobb. Less Kebnekaise "folk in the woods" sounds and more "marinara" (i.e. plain as the sea).

---1/24/23

The album is only 34 minutes long, so it's geared for the LP era, of which strangely this does not exist on that format. I find music, like the kind Scarlet Thread makes, as timeless. I bought many albums such as this over the last 25 years. Will be interesting to see which ones have aged well. This is one of those for sure.

Ownership: 2003 Mellow (CD)

2004 (acquired / review); 1/24/23 (update)

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Scarlet Thread went on to release two other albums that I haven't heard. 

3/29/23 (new entry)

Mushroom ~ USA ~ San Francisco, California

Joint Happening (2007)

This was to be the last album I picked up from Mushroom, a long running band from San Francisco that continues to this day. Technically listed as Mushroom with Eddie Gale, the latter provides trumpet and is a key component of this album's sound. I had a very high rating on this from my only listen upon release. I'm curious if it holds up some 18 years later. 

The opening track 'Peace' by itself is something to take notice of. Sounding every bit like Tangerine Dream's Phaedra, complete with flute mellotron. Then Eddie Gale provides the Miles Davis styled muted trumpet layered on top. Bitches Brew meets Rubycon is a cocktail I'll drink all day. Track 3 is Mushroom at their Krautrock deep groove best. Laying down the Can groove with flute, trumpet, piano, organ, and whoever else wants to jam on top. It can get intense at times. At 18 minutes, it's the centerpiece of the album. It isn't until the sixth cut 'Our Love' that the psychedelic guitar kicks in. This leads to the other lengthy track and closer 'The Spirit'. Similar in construct to the third song, it's band leader and drummer Pat Thomas laying down a repetitive groove and letting the others jam on top. On this cut the music has more of an Embryo feel minus the rhythms which remain firmly in the Can camp. 

Joint Happening is a tough album to categorize. The instrumentation and loose feeling belong to jazz. The hypnotic groove and psychedelic nature are more space rock oriented. I probably did have this one a half star too high, only in that the tree could have used some trimming. Where to trim? That's the tough question and why jazz improv is jazz improv. Great album all the same.

Ownership: 2007 Hyena (CD). Booklet with recording details.

11/11/07 (acquired); 8/25/25 (review)  

Cream of Mushroom (1998)

The hype sticker on the casing states "Debut CD from Mushroom with Krautrock, psychedelic & jazz fusion influences. Their sound is similar to Tortoise, Miles Davis, Can, Soft Machine." And with that Mushroom threw down the gauntlet. This was in the early days of the American Krautrock revival, and where better to start than San Francisco. Of course only Can above could be considered Krautrock but it is the centerpiece of the CD - namely the 24 minute 'The Reeperbahn'. This track has Can written all over it with its hypnotic repetitive groove and analog sounds dropped on top. As it turns out, the CD incorporates Mushroom's true debut, 1997's LP of the same name as the lengthy track, along with four new compositions. From the LP we also hear 'On the Corner (Part 2)' which of course covers the Miles reference. And there's some fuzz bass, so I guess that's to be the Hopper nod. Graham Connah is the keyboardist here, and his next venture would be Jettison Slinky, one of the few American bands who paid homage to the Canterbury scene. In the end what you get with Mushroom are all the obvious pop culture references and musical influences. As a listener, it would be easy to write it off as hipster imitation. But what I hear is an innovative band taking in all the influences and creating something wholly unique. Mushroom would continue to be a fascinating band for the next ten years or so before fizzling out. If curious, this CD debut would be as good as any place to start, though not their very best.

Ownership: 1998 Normal (CD). Booklet with recording details. 

4/5/98 (acquired); 8/27/20; 1/19/21 (review)

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Other albums I own and need to review: Hydrogen Jukebox; Analog Hi-Fi Surprise; Foxy Music; Glazed Popems

Other albums once owned: Leni Riefenstahl; Yesterday, I Saw You Kissing Tiny Flowers

1/19/21 (new entry)

Naikaku ~ Japan

Wheel of Fortune (2003)

---1/17/07

An aggressive and complex instrumental rock with the leads being shared by heavy guitar (not metal) and a contrasting flute. I was reminded of the obscure US group Atavism of Twilight, a sound that disappeared practically before it started. It’s more complicated than Argentina’s Tanger, but not too far off the mark. Kenso is another reference, but Naikaku aren’t as symphonic.

---8/18/25

I wrote the above for their next album Shell, which I heard first. That synopsis can certainly apply here to their debut as well. I obtained Wheel of Fortune about five months later in 2007, and that was my last listen. The opening of Wheel of Fortune might as well put an exclamation point as the final word on what aggressive guitar and flute can sound like. It sounds like Happy Family for the flute rock crowd. The music can sometimes veer off into a looser jazz motif. Only to return back to super tight heavy instrumental rock. And the guitar tone can get to the heavy metal point. Come to think of it, I hear some Praxis in their sound. It's more focused and less electronic oriented, but the guitar playing and jazz backdrop is what triggered the thought. I really enjoy the contrast between the beauty (flute) and the beast (guitar). The rhythm section is no slouch either. They're quite active and push the proceedings to a more kinetic level. Final track is a cover of Focus' 'Hocus Pocus' which fits their sound like hand in glove. And the instruments they use to imitate the yodeling is hilarious.

The titles are in Japanese and some are quite bizarre. Someone made an attempt on Discogs to translate. 

Here's track 2: 'In Short, You've Just Changed "Point Of View", Don't You? It's Only A Superficial Part, Right? Modern? Or Post-Modern? We Don't Care. Go Home! Go Back To That Sea!'. 

And track 4: '629 Items In Trash Can And Using 380.1MB. Want To Delete These Items?'

Naikaku were a short-lived group who only made two albums. And one very obscure undated cassette according to Discogs.

Ownership: 2003 Freiheit (CD). Booklet with artwork and recording details.

6/14/07 (acquired); 8/18/25 (review)

Also own and need to review Shell.

8/18/25 (new entry)

Dr. Dopo Jam ~ Denmark

Entree (1973)

---Feb 2005

This is as insane as Fat Dogs and Danishmen, but perhaps not quite as loony. They tend to have more of a Bacharach, breezy-light fusion in the melodies, with some mean rock instrumentation backing it up. I'm thinking I enjoy this one a bit more on the whole.

---8/18/25

That was my first and only listen until today. Had I thought of it at the time, the immediate comparison here would be Nine Days Wonder's debut. It's got that shifting themes concept down pat. It's not as radical or rocking as NDW's opening salvo, but this is no easy ride at the amusement park. Also, as I noted on the Fat Dogs and Danishmen review below, Frank Zappa is an essential comparison. There's a lot of great musical ideas here, though they're spotted all over the place, so it doesn't gel as much as you would hope. Because of this, I found the shorter songs and suites on side 2 to be more enjoyable.

Ownership: 2004 Karma (CD). No liner notes or bonus tracks. A surprisingly spartan reissue from Karma.

2//05 (acquired / review); 8/18/25 (update)

 

Cruisin' at Midnite (1981)

Dr. Dopo Jam's final effort Cruisin' at Midnite is a surprisingly very good album for such a late date (and the "red flag" warning of the title). Some really strong guitar, flute, synth, violin soloing, and electric piano drives most of the songs. Plus plenty of nice horn charts, also out of its time. And considering Dr. Dopo Jam's heritage, the goofball quotient is mercifully down, though not completely wiped clean. There's also a funky edge present - similar to some of the late 70's Kraut Fusion groups like Aera or To Be maybe. More for fusion fans than prog I'd submit.

Ownership: 1981 Dopo-Di-Doo-Platts (LP) 

2005 (acquired); 4/25/19 (review); 2/24/21

Fat Dogs & Danishmen (1974)

Dr. Dopo Jam's sophomore effort is the tale of two Frank Zappa's. Most of Side 1, and parts of Side 2, are the silly Zappa, and the goofball meter (now an app on iPhone) goes into the red zone. I'm sure 'Ode to Daddy Meatloaf' and 'Surfin' in Sahara' might be funny to someone somewhere, but comes across as ridiculous on these shores. Most of Side 2 is the serious Frank Zappa (well, serious is a relative term of course). We're talking Hot Rats era here. The affected sax sounds replete with complicated music charts and top flight jazz rock jamming. Album peaks on the middle two tracks of the latter side. Overall a very good album, that one suspects could have been so much better. Lost opportunity that.

Ownership: 1974 Zebra (LP)

2004 (acquired); 10/8/15 (review)

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No legit reissues have surfaced for the last two albums as of 8/18/25. Their debut was issued years ago by Karma (as noted above).

10/8/15 (new entry)

Rufus Zuphall ~ Germany

Phallobst (1971)

---Sep 2005

I’ve been a late bloomer to appreciating the sounds of Rufus Zuphall. I think I wanted Ohr and got, well Krautrock, not Kosmische. No question, this is easy stuff to enjoy for those that like guitar / flute driven rockers from 1971. File with Nosferatu, Ikarus, Os Mundi, and Electric Sandwich. 

---8/18/25

Some albums are hard to create a narrative from, and Phallobst is one of them. The album is about half instrumental, half vocal, and mostly in control. More traditional prog rock than what you would normally associate the term Krautrock with. There's even a bit of folk rock here. The above reference groups are accurate, and if you were to strip away the flute prominence, you could also see this as a prototype to Thirsty Moon or Satin Whale. Interesting to note that this album was to originally be released on Ohr. In the liner notes of the CD, much is made of the mellotron, but its usage is very light, only showing up on the last two tracks.

The CD adds the first half of the Farewell Aachen 1972 concert. The second half can be found as bonus tracks on Weiss der Teufel, which I don't own. The entire concert was originally released as part of the 4xLP set from Little Wing in 1993. The concert itself isn't the greatest recording, but sufficient for an archival 1972 event. It's a spirited show with some unique tracks, most notably the nine minute improvisation 'Sau Aas'. Not enough for me to hold onto as a supplement, however.

Ownership: 1971 Pilz (LP). Gatefold.

9//05 (acquired / review); 8/18/25 (update)

   

Weiss der Teufel (1970)

Rufus Zuphall's debut was released at a time when Germany was just starting to get the engines roaring. It would be another year when 100's of underground albums would hit the market, and the newly minted Krautrock tag would be applied. It would have been impossible for even the dedicated buyer to keep up! But one year earlier, there were only a few handful of bands managing to get out this new type of sound. Running the gamut from freak outs like Tangerine Dream's Electronic Mediation, Guru Guru's UFO, and Kraftwerk's debut to jazzers such as Wolfgang Dauner and onto the UK prog / blues rock of Nosferatu, Out of Focus, and Armaggedon. Rufus Zuphall is closest to the latter style. Flute and guitar play a major role, and the compositions aren't particularly wild or intense. Their structure remains loose, and the title track is a side-long improvised jam, something that was fairly common in the US and UK by this point. When I first heard this album some 30+ years ago, it left me a bit dissatisfied, as I was expecting it to be more freaky than it is. About 10 years after that, I appreciated more what the band had accomplished here. And now two decades later, I hear the album better than ever. Of course it's flawed - but that's part of the allure of the scene to begin with. It was never about classical level perfection. It was about the raw emotion the German youth had pent up and were ready to unleash. Weiss der Teufel is part of that buildup phase.

Ownership: 1989 Little Wing (LP). Gatefold with a unique painting. From the beginning, Little Wing made the controversial decision not to use original covers, and go with original artwork. In general, I disagree with this approach. But I have to say that this album, along with Ainigma's Diluvium, are so far superior, that I have to give credit where credit is due.

1989 (first listen); 1998 (acquired); 5/24/21 (review)

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I've heard their unfinished third album Avalon and On, but recall nothing about it. There are two more live releases since 2000 that I've not heard.

5/24/21 (new entry)

Claudio Rocchi ~ Italy

Essenza (1973)

---2004

Essenza is Claudio Rocchi's 4th solo album. The first track has phased voices, tablas, droning synthesizers (similar to Battiato's early work), and a little boys voice reciting something in Italian. This reminds me of Picchio dal Pozzo on their debut and sends chills down my spine. Other tracks have flute, sax, organ, piano, and quite a bit of acoustic guitar strumming. Rocchi sings in a very unique way, though not that dissimilar from others of his ilk in the 1970's Italian scene. In fact, parts of this remind me of Sergius Golowin's album considering the obvious stoned vibe. The phasing has a lot to do with this perception.

---8/18/25

And 21 years later I'm back for a revisit. The above review certainly encapsulates my point of view today as well. I didn't mention that there's quite a cast supporting Rocchi on this outing, most notably the duo who made up Albergo Intergalattico Spaziale plus Elio D'Anna from Osanna. The music belongs as much to folk as it does to progressive rock. As noted on Arturo Stalteri's Andre Sulla Luna review recently, Franco Battiato is the reflex comparison though not entirely accurate. Alan Sorrenti circa Aria would be another point of reference. Some of the keyboard work reminds me of Stalteri actually.

Ownership: 1973 Ariston (LP). Gatefold with lyric inner bag.

Not reissued on CD as of 8/18/25.

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I never did pursue Rocchi's other solo works in earnest. 

2004 (acquired / review); 8/18/25 (update / new entry)

Rush ~ Canada ~ Toronto, Ontario

Rush were one of the first bands for me to get into, not surprising given my progressive rock disposition, even if I had no clue what that would have even meant in 1978. That year, Rush released Hemispheres and I bought it upon release. I must have listened to that album hundreds of times, pouring over the lyrics, and immersing myself in the instrumental 'La Villa Strangiato'. In addition, as was my pattern, I began to collect the back catalog, including 2112 (my school peers' favorite choice), Caress of Steel, and A Farewell to Kings. A buddy picked up the first two, but I wasn't too much into them back then. When Permanent Waves hit the shelves, I was there on Day 1. Loved it - still do. And a year later came Moving Pictures. Well now, hmmm, yea OK, I like it, kinda, well sort of, maybe not. Maybe. 

Over time, I've reconciled in a big way with Moving Pictures. As it turns out, that is also where I got off the Rush bus. I was entirely disgusted with Signals and even worse was Grace Under Pressure - both albums I've also long reconciled with. By Power Windows I didn't even know who Rush were anymore.

Vapor Trails (2002)

So here we go again with a late era Rush album that I seem to enjoy buying for a couple of bucks - and then panning it - calling more attention to my own (apparent) insanity than anything the band did to earn it. After the group went through some personal tragedies, Vapor Trails arrived six years after Test for Echo. From the beginning I thought I had the wrong disc in the changer. Neil Peart brings out his inner Keith Moon and the guitars from Alex Lifeson are truly hard rock. A very energetic opening for a band that was half asleep for the prior 15 years. Apparently this was their first album to not feature keyboards since their very early days. Essentially it was to be a back to the roots album. But is it? Not really. The music is Grace Under Pressure without the gloss or synthesizers. So it misses the magic of the 80s style and optimism. Vapor Trails is more like a cynical take on the hard rock genre of the 2000s. No By-Tor and the Snow Dog for you. I have no idea why Rush rejected prog rock vehemently back in the early 80s. It's as if they were offended to be called a prog band. At times I could hear Vapor Trails maybe going down the Voivod - The Outer Limits direction. But no such luck. It's not near that creative. Rather than back to the roots, it's more like back to being a dumb kid. Why do that? Why are intellectuals oftentimes embarrassed of their own brains?

I thought for certain, after the first few notes, that I would enjoy this more than Counterparts. But this one fell to the bottom tier of Rush albums for me. Looks like RYM agrees with my assessment.

Apparently many folks were critical of the original mix and that the 2013 remix is much better. If I find it, I'll report back here.

Source: 2002 Atlantic (CD)

8/16/25 (review)

2112 (1976)

When hearing 2112 for the first time all the way through in probably 25 years, I had something of a revelation. That this album may be my least favorite of their studio classic run all the way up through Grace Under Pressure. This or Fly By Night maybe. Which is a strange occurrence when you realize that Rush's progressive instincts were on full display here. The album starts fantastically, as the opening of the side long title track packs a wallop. It veers off from there though, and there are moments of songcraft that seem to go nowhere. Side 2 brings us back to Rush's short form composition abilities, not seen since the aforementioned Fly By Night. And they really aren't the best tunes Rush has to offer. Interesting to note they didn't try their hand at shorter songs again (as a focus) until Moving Pictures many years later. By no means am I suggesting 2112 isn't a very good album, one that I would still argue is mandatory for a complete Rush collection (and I currently own three formats myself). The competition is fierce, and when held in that light, 2112 pales.

Ownership: 

1976 Mercury (LP) Gatefold 

Mercury (CD) 80s pressing

1976 Mercury (MC)

1981 (acquired); 6/13/25 (review)

Counterparts (1993)

As the years rolled on, many of my music buddies were still hanging onto Rush, hoping against hope that they really were still a great band. I can remember the buzz around Counterparts in 1993. I was so hopelessly deep into the underground by then, Rush seemed like a blurry memory of my childhood. I could care less what they were up to, but a friend was thrilled. He proclaimed enthusiastically "It has a couple of good songs!" Down to that are we? A couple of good songs. That's something I've noticed with rabid fans of their favorite groups from their youth. Apologists to the core. Whether it be Yes, Genesis, Pink Floyd, Rush, what have you, as long as they're still breathing, playing live, and releasing new albums, all is OK. Even if those new albums aren't really anything special. So with that, I heard Counterparts for the first time recently. Hey you know what? It has a couple of good songs! lol. I will say it's miles better than Presto to my ears, which isn't saying much. Rush seems to have this irrational desire to be hip and relevant, when their fan base holds them to their past. Their live shows are filled with classics not new stuff. Why didn't they get that? Who knows, but Counterparts is heavier than they've been in a while, and the first couple of cuts are well done. Then off to plastic land they go and the fast forward button gets some use. The great track here (have to wait until #9) is the rare instrumental 'Leave That Thing Alone'. One wonders why they didn't do more of this? According to RYM, Counterparts is their best album between Power Windows and their swan song Clockwork Angels. That doesn't bode well for the others. Though same website has Counterparts better than their debut and Caress of Steel. That's insane.

Source: 1993 Atlantic (CD)

2/27/25 (review)

Hold Your Fire (1987)

Hard rock by reputation only. One wonders what the point of Rush's albums were during this era. They were far removed from their legacy and now their music sounded dated even by 80s standards. Dull. 

Source: 1987 Mercury (MC)

7/2/24 (review)
 

Caress of Steel (1975) 

This is a foundational album for me, having first purchased it in 1979 at the ripe old age of 14. 'The Necromancer' is one of those epics that shaped my musical tastes versus satisfying them. Brilliant in every way, I spent my youth looking for similar sounds. 'Bastille Day' makes for a great hard rock opener, and 'The Fountain of Lamneth' was their first attempt at a side longer. A bit awkward in places, it's still a fine piece. They would later nail the long form composition perfectly on Hemispheres. For the first time ever, I even heard some decent progressions on 'I Think I'm Going Bald', one of their worst early era tracks. After all these years, nostalgia pushed this to a +1 as well.

Ownership: 1976 Mercury (LP). Gatefold.

1979 (acquired); 10//06; 7/26/23 (review)

Grace Under Pressure (1984) 

---Mar 2005

This one came out after I’d pretty much written off the group altogether. So this is really the first time I’ve heard the album with any kind of objective presence. Definitely a continuation of where the band had been heading since Permanent Waves. A more mature, confident, and consistent work than Signals. ‘Distant Early Warning’ is the right kind of radio hit – one that sticks with you in a good way. The transformation from 70’s big idea prog to 80’s sophisticated slick rock was completed here. They would go too far on Power Windows and the long, painful journey to obsolescence had begun.

---7/26/23

I mentioned recently that Signals was the first Rush album for me not to buy real time and that Power Windows was their first for me to outright reject. But what about the one in between those two? I was now three years away from embracing anything new from Rush, but I have to admit that Grace Under Pressure sounded better back then to my ears than its predecessor. Seemed punchier and more melodic. Essentially it was here they had mastered what they had set out to do - release a commercially viable product for the 80s. However by 1984 I wasn't regressing back to the radio albums but was boldly going forward towards the Euro underground. It would be another 20 years before I bought Grace Under Pressure and heard it throughout. Last night I enjoyed a +1 listen and I now hold it at the same level as Moving Pictures. And it's the last excellent album by them, at least of the ones I've heard plus what I've read about those I have not.

Ownership: 

1984 Mercury (LP)

1984 Mercury (MC)

3//05 (acquired); 7/26/23 (review)

Exit...Stage Left (1981) 

Exit...Stage Left makes for a great compilation and setlist, but the music is exactly the same as the studio versions. I saw them live in Dallas in 1981, and even that potential nostalgia pull doesn't happen here. I didn't buy this album real time, and I didn't need to now either.

Source: 1981 Mercury (2xLP)

7/18/23 (review)

Presto (1989)

When I would first hear any Rush album from Power Windows on, I immediately had a dislike for them. And in fact, my recent revisit of Power Windows confirmed my initial findings, but I did think it was better than I originally thought. What about Presto? OMG no. This is just not for me. It's one thing for Rush to have shed all of their hard rock leanings, but the songwriting here is almost non-existent. It's as if The Police decided to release an album of their trademark sound, but without any melodies. No matter how much rationalization I bring to listening to this, I can't reconcile any of it. One wonders if anyone would have paid attention to albums like Presto if it didn't carry the Rush brand? 

Source: 1989 Mercury (LP)

7/16/23 (review)

  

Fly By Night (1975) 

As I stated on the debut, the key to enjoying the early Rush albums is to view them through a mid 70s Midwest hard rock lens, versus a full blown prog act. Now songs like 'By-Tor and the Snow Dog' sound incredible in that context. And a major reason why Rush built a cult audience early.

Ownership: 1977 Mercury (LP)

12/7/11 (acquired); 7/10/23 (review)

Power Windows (1985)

If Signals was the first Rush album for me to not acquire real time, then Power Windows was the first album for me to entirely reject. As with Saga's Behaviour, once you get past the shock of the middle 80s slick-as-a-butter-dish production, the music isn't so bad. The problem here is most of the songs sound exactly alike. I couldn't tell you one from the other even after a headphones listen. So yea, I still don't need this.

Source: 1985 Mercury Germany (CD)

6/22/23 (review)
 

Permanent Waves (1980)

One of those origin story albums for me. Bought this on the day of release, while still in high school (early high school at that). It never transcends the 4 stars I have on it, but I always expect it to. As I said on the Moving Pictures review, it's really amazing how they were able to tap into the future of music without letting go of their principles. I think they finally lost the plot by the middle 80s, but in 1980 this was some stellar music. Thoughtful hard rock with a commercial sensibility. Not their best album (I still go with the predecessor to this) but close to it.

Ownership: 

1980 Mercury (LP). Lyric insert

Mercury (CD). Remastered

1980 Mercury (MC)

1980 (acquired); 2//05; 9/22/14; 1/17/23 (review)

Rush (1974)

Like with many debut's, Rush's entrance into this world was much different than who they became and what they were known for. Though some do not like that I linked Ontario with the American Midwest for my RYM list, the fact remains that the landscape was very similar throughout the 70s. And Rush was very much part of that scene, playing clubs and small venues. Straight up hard rock was the best game in town, and interest in the band was nominal at best. Along with their management, they were able to scrape together just enough scratch to record and release both an album and a 45 on their own (both go for a small fortune today). One of those scarce copies managed to get to Cleveland's WMMS, and a female program director by the name of Donna Halper placed the song 'Working Man' into their regular rotation, figuring it would appeal to their blue collar fan base. Imagine that? She also was able to get the attention of Phonogram, based in Chicago, and the rest is history as they say.

Drummer John Rutsey was not just a tagalong member, but rather he was one of the two founders (along with Alex Lifeson) and was a major part of their original sound. He wanted to stay the course with the driving hard rock the band had established a small reputation for. But Lifeson and Geddy Lee (nee Weinrib) wanted to add prog rock elements and go a different direction. Along with Rutsey's health problems, it was decided a change was needed. Auditions were held, and they selected brainiac Neil Peart as their new drummer and lyric writer. The die was cast.

As a listener, it helps to put your mind into the 1974 landscape (which I did last night resulting in a +1 listen). Wet T-Shirt night and jammin' guitars was the name of the game. The cheaper the beer - the better. More for the merrier, that is to say. In that light, the great tracks here are opener 'Finding My Way', 'What You're Doing', and 'Before and After'. Best of all is the track that Ms. Halper thought would appeal to Cleveland's hard working industrial base: 'Working Man'. This song would remain as the sole representative the band took forward for their live set from their debut. If you don't go in expecting 2112 or Hemispheres, and you like hard rock, then there's a good chance to you might really enjoy Rush's debut.

Ownership: 1976 Mercury (LP)

12/7/11 (acquired); 8/14/22 (review)

Moving Pictures (1981)

On Moving Pictures, Rush were clearly moving away from their 70s prog rock roots and entering the 80s decade. In retrospect, they were pioneers, a band with the foresight and wisdom to predict the mood and whim of the fans. It's Side 1 that everyone knows from the album - 'Tom Sawyer', 'Red Barchetta', and 'Limelight' being instant radio hits. Ones you still hear to this day everywhere. A close study reveals a lot of invention and thought, wrapped around a commercial sensibility the band had lacked prior. The move to synthesizers proved to be prescient. "ygrek ygrek zed" (the Toronto airport of course) was the one track that took me in instantly, and recalled my fave 'La Villa Strangiato' from the beginning of my Rush journey. But in compact form, like everything else on the album  So in recent listens (twice in three years - amazing regularity!), it's been side 2 that requires my focus, as I rarely remember anything about it. Ironically it's the more progressive rock oriented side and has aged incredibly well for me.

I still have the ticket stub of the concert I saw in April 1981 at Reunion Arena in Dallas (funny that it was still a new arena then. Been out of service for over 18 years now), which adds more nostalgia points to the formula.

Ownership: 
1981 Mercury (LP) 

1997 Mercury (CD). Remastered.

1988 Mercury (MC)

2//81 (acquired); 2//05; 7/15/14; 12/20/18; 1/12/22 (review)

A Farewell to Kings (1977)

---Feb 2005

This is in the breadbasket of their classic era. Longest track, the eleven minute ‘Xanadu’, is the template for the classic Rush power prog sound. Many theme and rhythm changes without compromising any heaviness. ‘Closer to the Heart’ was one of the original Bic-lighter swaying songs. Who cares about the next two songs cause who could wait for ‘Cygnus X-1’, perhaps their greatest composition ever and heralded the arrival of Hemispheres, certainly their finest hour. What an ending!

---8/4/19

Rush's 5th studio album A Farewell to Kings represents core music from my adolescent years. Hard to imagine the needle moving much by this point. It's an excellent album that will always be, never to improve or to decline. 'Cygnus X-1' remains my favorite of a great set of tunes.

Ownership: Mercury Netherlands (LP). Gatefold with lyrics in the centerpiece. 

1979 (first acquired); 2//05 (review); 2/7/15; 8/4/19 (update) 

Also own and need to review: All the World's A Stage; Hemispheres; Signals; Test for Echo

8/22/20 (new entry)

The Far Cry ~ USA ~ Boston, Massachusetts

The Far Cry (1969)

There certainly were a few interesting bands coming out of the late 60s Boston scene: Listening, David Stoughton, Phluph, Banchee, The Tangerine Zoo, and many others. One of the more inventive acts of the day would have to be The Far Cry. Their music is somewhat indescribable. Based in jazz, heavily spiced with psychedelic rock, and featuring impassioned but odd vocals. Excellent sax work from Dick Martin and fine amped up dual guitars from Paul Lenart and David Perry. The album seemingly had no commercial potential whatsoever, something Vanguard didn't seem to care about back then. Not an easy listen, but one that grows on you each session. A deeper dive got me to thinking this may have been the prototype of yet another highly creative jazz psych album from the region: John Abercrombie's Friends, minus the vocals of course.

Ownership: 1968 Vanguard (LP). Promo.

2004 (first listen); 2009; 8/15/25 (acquired / review / new entry)

Korai Orom ~ Hungary

2001 Sound & Vision

Next up in the haven't-heard-since-acquiring series is Korai Orom's 5th album. I would have been well served to have maintained pages like this as I went along because I think it would have been obvious not to keep going with Korai Orom for as long as I did. I purged a couple already and now I need to see which ones I want to keep. I'm fond of the first three albums, as they came at the right time and place for me. After that, they all tend to be blurry memories, including 2005 below (which was recent!).

And that decision will not come easy, as this 2001 outing is proving. They have a very pleasant danceable sound that just keeps the head bobbing. The insertion of heavy guitar and flute help appreciate the musical aspect and also provides much needed dynamics. If only there was more of it.

The reality is this doesn't have any particular track that towers above the rest, so it will probably get scooped out at some point without protest. But for now, I'm good.

Ownership: 2001 private (CD). Digipak with recording details. Includes a video. 

2002 (acquired); 8/11/25 (review)

 

Korai Orom (1996)

This is the album that sits between their debut and 1997, both of which I've discussed here already. 1996 is the stepping stone from one to the other. It's a bit more zoned-in than the debut, but it's more measured than the kinetic 1997. It's also a bit less dance-y than the latter. I'm finding that Korai Orom is a band I must listen to while chilling at night. For dedicated, focused listening, their music tends to drag. In this way, Korai Orom needs to be approached in the same manner as Tangerine Dream or any similar type of electronic music. When hearing in this light, 1996 gets a +1.

Ownership: 1996 private (CD). Tri-fold booklet. This is a situation where the jewel case isn't modular since it has a pre-printed logo on the front piece (the one that usually breaks).

6//97 (acquired); 1/6/21 (review)

Korai Orom 1997

Korai Orom's 3rd album, the first to have a title (such as it is), is when the group really started to gel. Their combination of EDM, various culture's indigenous music, and fiery space rock proved to be a popular one, and Korai Orom made a nice career out of it. Most certainly their live shows proved to be even more exciting than the studio efforts. For my tastes, 1997 has remained my favorite of the albums I own by the band. It also happens to be their most energetic, so perhaps not a coincidence. The opener sets the mood perfectly with the hyper percussion and shimmering guitars. I can do without the "hoo ha ha" parts, but otherwise it's exactly what Korai Orom are about. This then leads to the best segue of their career, that of track 2 (they had a habit of not naming their songs) - a countdown followed by a blistering sequence of psychedelic guitar, fast percussion, and wood flutes. If that wasn't enough, the following segue into track 3 almost matches it with yet another killer beat and some awesome Moog like synth sounds. Once again the guitar is on fire here. After this it doesn't maintain this momentum (not sure it could have), but the album is still great throughout. Unfortunately 1997 suffers the same fate as all the Korai Orom albums, and that would be that the tracks are too long. Most of these could have been chopped two to four minutes and the impact would have been that much greater. Certainly if the primary purpose of the music is set for dancing, then one can understand this situation for a live setting. But for home listening, the fast forward button starts to look appealing. A minor gripe I suppose, as I still hold 1997 as one of the finest examples of the genre, and it maintains its excellent rating. If you're into bands such as Ozric Tentacles and want to explore a more exotic alternative, Korai Orom's 1997 is the place to start.

Ownership: 1997 private (CD). Tri-fold digipak.

1998 (acquired); 12/22/20 (review)

Korai Öröm 2005

Korai Öröm 2005 is the 6th album (or 7th if one counts the first cassette) from this fine Hungarian band. Though I have dutifully picked up every album they've released (save their last 2013, so total of nine), I can honestly say I recall little about each. The one that had the great impact here is 1997. In recent years I've gone back to the debut (1995) and 2000 - Sound & Vision, and both fell into a similar pattern which I'll describe here shortly. As memory serves, 2005 was one of the very best, perhaps only second to 1997 in quality. After this revisit, I'm hoping that's not the case.

Listening to this CD now, it's as if I'd never heard the album before as I had no prior memory of it. Just the style. And I fear to say that will be the case for most of the Korai Öröm catalog. In reality, their sound hasn't deviated much from the debut, so it's really a matter of the execution and dynamism of each. So what is that sound? Organic psychedelic dance music, for a lack of a designation more official. And what I mean by organic is they they use real instruments verse just samples, synthesizers, and the like. Because of this, Korai Öröm are often compared to Ozric Tentacles, and in some ways that is a fair conclusion to make. Ozric though were more informed by the 70s space rock bands such as Gong and Here & Now than only considering modern dance music. They blended both seamlessly (and often times just went raucous space rock). Korai Öröm takes an Ozric extract and applies it more toward the rave club circuit. The instrumentation and personnel is impressive, with a variety of indigenous wind and string instruments, a raftful of modern keyboards, electric guitar, additional percussion, and a pounding rhythm section. Along with guest female vocals.

After hearing '2005/1' you'll know if this is your cup of tea or not. The band doesn't extend the style palette much, however the music definitely is varied. The biggest issue I have with Korai Öröm is that they should let loose more in the rock sections like the best bands in this genre do (Ozric, Dasputnik, Quantum Fantay, Vespero). It seems they're always holding back, constantly building the atmosphere and not allowing for more ideas and changes to come forth. It also seems there isn't much in the form of music composition but rather Korai Öröm are more about texture and sound. Yes it's still excellent in aggregate, but one begins to think how much better it should have been.

Personal favorites include the pounding '2005/4' and the exotic, psychedelic, and tuneful '2005/7'.

Ownership: 2005 1G Records (CD). Band photos.

1//2006 (acquired); 7/18/19 (review)

Korai Orom (1995)

Korai Öröm's debut laid down the blueprint that the band continually draws upon to this very day. They were at once influenced by the UK Festival Psych scene, as well as many of the free spirited dance cultures that came about in the 90s. In effect, Korai Öröm are an organic chill out band. While they certainly do utilize electronics as a core component, the separation aspect is the use of real rock band instruments. In particular the electric guitar is a centerpiece, and often times played with in a fiery fuzz tone manner, and sometimes in high octane mode, which creates excitement within the generally low key "chill" environment. The unusual use of trumpet is also a fascinating addition to their sound. The musical themes often borrow from Western Asian and Australasian indigenous traditions, the latter represented by the heavy use of didgeridoo. On their debut, I'm most reminded of Ship of Fools, a band that arrived late to the UK Festival Psych scene and had a similar approach to crossing over with dance. The main drawback on this debut, is that Korai Öröm stretch their ideas a bit too far, and often times boredom ensues. The group were still finding their identity at this point, and hadn't quite seen their potential yet as a dynamic psychedelic rock unit. All the same, there's a solid 30 to 35 minutes here of excellent music (out of 55), and if you're a fan of the band, it's a must pick up.

Ownership: 1995 private (CD)

5//95 (acquired); 2/24/17 (review)

2000 Sound & Vision

Sound & Vision 2000 is the 4th album from the Hungarian collective Korai Orom. At this point in their career, Korai Orom sounded like a direct cross between Can and Ozric Tentacles, but as played for Rave parties typical of the turn of the century (later to be named Indietronica). It's repetitive, danceable, and yet still very psychedelic rock influenced. Given they are a large scale band that plays real instruments, the music is far more interesting than a DJ with a massive sampler reserve bank. All the same, while the album is most certainly excellent background music, it's not as engaging on close listens as I'd prefer.

Former ownership: 2000 private (CD). Digipak.

2000 (acquired); 2/6/16 (review); 7/4/22

Other albums I own and need to review: 2009; 2010

Other albums once owned: Live '93-'96

2/6/16 (new entry)

Amon Duul II / Amon Duul ~ Germany

Yeti (1970)

Yeti was yet another very important album in my musical development and appreciation of the European underground. Having acquired the Strand LP reissue in my last year of college, I played the heck out of it throughout the remainder of the 80s. Listens became more sporadic in the 90s and I have no modern line item of having heard it in the last 20+ years. I bought the CD not too long after its release, which tells me 2001 or 02 was my last full listen. Five star albums need more attention than that.

If I'm honest, I've never truly warmed up to the A side. It's Amon Duul II in song based mode, something they were to improve upon later (see my Carnival in Babylon review). Things get much more interesting on the rocking 'Archangels Thunderbird' and the Indian raga turns Krautrock jam of 'Cerberus'. Then the real party starts, as the drugs are kicking in nicely with 'Eye-Shaking King' and a couple of stoned interludes on each side. This all leads to the monstrous side long title track. This is one of those jams that defines Krautrock rather than imitates it. It's the apex jam you envision when you hear the term Cosmic Krautrock. And it delivers in absolutely beautiful fashion. When the first amplified guitar notes hit the speakers you know you're not coming back to this planet anytime soon. This just goes for it in the same way as early Ash Ra Tempel and Guru Guru do. The organ chill out closing is as haunting as the crystal forest you entered inadvertently but don't want to leave. No matter how many modern bands have tried to replicate this sound, there's an underlying atmosphere that just can't be reproduced regardless of how pure their intentions are. The final side continues all of the above, and the closing with Renate's feminine soaring wordless voice, hyperactive drumming, and phased guitar solos will leave you in a heap on the floor. And the floor is where you want to be anyway to enjoy the soothing Indian raga jam with some of the original Amon Duul commune boys including additional flute. Nighty-night.

Ownership:

1970 Liberty Germany (2xLP) Gatefold.

1970 Liberty UK (2xLP) Textured gatefold.

2001 Repertoire (CD) Digipak. Liner notes in German and English. Photos, recording details, and two bonus tracks taken from a 1970 single (great as well).

1987 (first acquired); 1996; 2001; 8/11/25 (review)
 

Paradieswärts Düül (1971)

For most of my record collecting life, I've felt like something of an apologist for this album. Amon Duul is the original commune group that was later to spawn the much more interesting Amon Duul II. Most of their entire music output comes from a late 60s drum jam that went on for days it seems. A whopping four albums were culled from these sessions, and all have proven to be difficult listens. They weren't intended for home listening in the first place, and their purpose was that of both artistic freedom and leftist politics. Similar activities were happening in New York City's Greenwich Village and Soho loft scenes during this time.

The exception of course is Paradieswaerts Duul. This is a separate recording, much more pleasant, and in line with some of the folkier outfits of the day such as Emtidi, Broselmaschine, and Hoelderlin. Featuring guests from Amon Duul II and Xhol Caravan, the music sort of meanders along, never in a hurry, but oddly satisfying. Not sure an album like this, taken out of its historical context, would be worthy of so much attention. But it is just this time and place aspect that makes it endearing, and an important part of a complete Krautrock collection.

The CD adds their rare single, and I have that review over at The 45 Revolution.

Ownership: 

1971 Ohr (LP)

1996 Spalax (CD). Triple fold out digi-pak that includes the above SP. 

1987 (acquired); 1996; 10/22/24 (review)

Carnival in Babylon (1972)

I have a friend on RYM that declares: "Sorry, but if you don't like this album, you're stupid". That got a belly laugh out of me. Now maybe I wouldn't have phrased it quite the same way, but nonetheless, there is something to be said for the premise. In effect, Carnival in Babylon sees Amon Duul II go from a stoned Krautrock long form jamming band into thoughtful progressive rock songwriters. Truth be told, the short songs on the first three opus' were mere afterthoughts, and seemed to get in the way of what they did best. There is still some evidence of their past that creeps up here and there, in particular 'Hawknose Harlequin', but otherwise this album is far more subtle in its brilliance. In fact when I first heard the LP in the mid 80s - after already owning those first trio - I was sorely disappointed. It wasn't until years later, that I took the time to understand they were no longer the same beast of the past. 30+ years on, and I'm now of the mindset that Carnival in Babylon is almost on the same level as Tanz der Lemminge, something I would have scoffed at years ago. Special mention should go to guitarists' Weinzierl and Karrer, who both put in exemplary performances for this session.

The CD offers two lengthy bonus tracks, both modern, that are not attributed anywhere. I found these tracks far more interesting than what Amon Duul II has been releasing in modern times, and it shows the band could have continued in a relevant manner past the 70s.

Ownership: 

1972 United Artists UK (LP). Gatefold

2007 Revisited / SPV (CD). Digipak. History and bonus tracks.

1986 (acquired); 1996; 6/19/06; 5/16/07; 12/3/16 (review)

Phallus Dei (1969)

I'll let a four decade plus old newspaper article write my review for me today. Süddeutsche Zeitung said once, which happens to be the largest German national subscription daily newspaper according to Wikipedia: "Amon Düül II is a pop band that needn't shy away from comparisons with Pink Floyd or the Velvet Underground, but they are much better, more influential and more progressive than their English and American counterparts." OK then, my work is done here I think.

As noted below, I own the Sunset release. What's great about this version is the back cover, which is hilarious. Sunset was known for releasing adult pop music. What on Earth were they thinking when they put Amon Duul II on the label with the not-too-disguised title of Dick God? I always imagined some old codger with a pipe, getting excited at the strip-mall record store "Look Edna, a new album on Sunset! I gotta get this!". Imagine the scene back home.

Ownership: 

1972 Sunset (LP)

2006 Revisited (CD). Digipak. Liner notes and modern bonus tracks.

1986 (acquired); 1995; 6/14/16 (review); 10/19/25

Other albums I own and need to review: Tanz der Lemminge; Wolf City

6/14/16 (new entry)