Morte Macabre ~ Sweden

Symphonic Holocaust (1998)

Here's another one of those albums I bought upon release and haven't heard it since, some 26+ years later. Remarkably, though, I had a short real time review. So let's start there.

---Jan 1999

This is as good as everyone says. Call it Landoten or Anekberg - but this is a perfect amalgamation of the two groups: The melancholy of Landberk's first album mixed with the heaviness of Anekdoten. All instrumental remakes of cult horror films + a 17 minute original song. The album is loaded with mellotron.

---9/29/25

The "everyone" above is likely to have been rec.music.progressive, a chat board filled with prog rock enthusiasts (and haters it seemed) during the late 90s and early 00s (next gen of alt.music.progressive). One that I spent way too much time on, though eventually drifted away when career demands didn't allow for much free time. At some point I remember trying to keep some journals like UMR going, for the readership there. Fortunately I captured these on my hard drive and transferred them from one laptop to another over the years. Today, all my reviews are easily searchable on my hard drive.

Those monikers like Landoten and Anekberg were being thrown around at the time. The album had a stellar reputation right off the bat, as many fans were looking for that old analog sound that the two bands brought forth, along with the almighty Anglagard.

Despite the heavy presence of mellotron, the album does not come off as a retro prog release. Though the majority of the album are covers of horror soundtracks, I'm not familiar with any of them, so it all sounds fresh to me. The short 'Threats of Stark Reality' is also a unique track. Though the liner notes name check Museo Rosenbach, Goblin, Celeste, and Gracious, none of these groups' efforts will leap to mind. Starless / Red era King Crimson may come closest but only in the darkest instrumental mid sections of their lengthy tracks. The music remains dirgey, slow, and atmospheric throughout. Only on the lengthy original closer does Morte Macabre pick up the pace, about midway through.

This proved to be the only album created by this collaboration. It stands unique in my collection, though I understand a few other groups took on a similar premise afterward.

Ownership: 1998 Mellotronen (CD). Booklet with recording details and an enthusiastic review.

1//99 (acquired / notes); 9/29/25 (review / new entry)

Minimum Vital (& related) ~ France

Les Saisons Marines (1987)

This was to be the first Minimum Vital album for me to acquire (on vinyl originally), beginning a long relationship with the band. It appears I didn't listen to it with Envol Triangles in 2005, so we'll start from scratch for this title.

From the opening two tracks we obtain our storyline for Minimum Vital's second effort: The Medieval melodies make their initial appearance, the production is still boxy mid 80s, plenty of slap bass, sparse vocals have been added, and Jean Luc Paysson's guitar is way more out front and amped up. Most importantly, the melodic quotient remains high. And I would submit they've improved on the flow, indicating where they would land on their next opus Sarabandes. 'Zappata!' is a brilliant track, and a great way to immerse yourself into the early sound of Minimum Vital.

Ownership: 1992 Musea (CD). Coupled with Envol Triangles minus 'La Scala' (4:35). Booklet with recording details.

1989 (LP acquired); 1995 (CD acquired); 8/17/13; 9/29/25 (review)

Envol Triangles (1985)

---Jun 2005

One of the many exciting bands to have emerged in the mid to late 80's with a cassette only release. Suffers a bit from 80's digitalitis. But the full time flute player makes up for it. Too bad they couldn’t hold on to her for future albums. The bass player's style is also a product of the 80's, with too much slapping for my tastes. In some passages, I hear the 80's California based fusion group Drama. Very much a proto-Minimum Vital album.

---9/29/25

That was 20 years ago, and it looks like I had one more solid listen in between. Without a doubt this is prog music for the mid 80s. But despite the boxiness, Minimum Vital has a special way with melodies. The flow of the album can only be described as pleasant. They had yet to embrace the Medieval era, so it's a bit more generic in a jazz fusion sort of way. It develops like a prog album though, and flashy solos are nowhere to be found. The comparison to Drama is apt. As noted in the original review, flute would have been the perfect complement for the group as they progressed through the years. Adding a half star.

Ownership: 1992 Musea (CD). Coupled with Les Saisons Marines. Booklet with recording details.

1995 (acquired); 6//05 (review); 8/17/13; 9/29/25 (update)

 

Vital Duo - Ex Tempore (2001)

Minimum Vital were (and remain so to this day) one of the key elements of the French progressive rock renaissance that first occurred in the mid 1980s. They blended instrumental fusion, hard rocking guitars, and Medieval themes to create something wholly unique. After five successful albums and countless niche festivals, the engine of the group - the Paysson brothers - decided to cut some trimming and go right to the core unit. Vital Duo was born. A short lived project, Vital Duo managed this one album before going back to their main brand of Minimum Vital.

It doesn't take long to figure out that Vital Duo is the work of the Paysson's. Their distinctive patented sound is all over this, and it makes one wonder what the other band members were contributing in the first place. At the beginning it seems a bit superfluous, but by the time of 'Chanson de Trouvère' you'll find yourself emerged deep within their vision and sound. Jean-Luc provides most of the stringed instruments including some fiery electric guitar, whereas Thierry brings the keyboards. Both sing as they did on their early albums and Jean-Luc covers the drums and percussion. Of those keyboards, the most fascinating and distinctive is the Digital Church Organ, which is the most prominent keyboard here. It plays right into their Medieval concept.

If you're a fan of albums such as Sarabandes and Les Saisons Marines, then Ex Tempore is an easy recommendation.

Ownership: 2001 Musea (CD). Nice booklet.

5//05 (acquired); 7/18/19 (review)

La Source - Huit Chants De Lumiere (1993)

Minimum Vital were, and still are, a highly original progressive rock group coming out of France. The basic formula is take a medieval or traditional French folk melody and add jazz plus rock influences over the top. Digital keys, programmed primarily to the brass sounds, along with ferocious guitar soloing, are the trademarks of Minimum Vital's sound.

By the time of La Source, Minimum Vital had begun to incorporate some pop influences as well, with female vocals out front, and the final result may be a surprise to hardcore fans - but it's a winning formula both musically and commercially.

Ownership: 1993 Musea (CD)

1993 (acquired); 3/8/10 (review)

Other albums I own and need to review: Sarabandes; Capitaines; Pavanes

Other albums I once owned and sold: Esprit d'Amor; Atlas

3/8/10 (new entry)

Heir Apparent ~ USA ~ Seattle, Washington

Graceful Inheritance (1986)

Heir Apparent were one of many great bands buried on the French cult label Black Dragon, a label I was keeping a close eye on given that's where Manilla Road resided. Despite this, I completely forgot about the name Heir Apparent until recent times, if I knew them at all. I don't recall seeing their album in the college record store bins nor seeing writeups in the metal mags I followed at the time. Even if I did flip the record over at some point, I doubt I would have given it much thought, seeing 13 (?!) tracks and short time durations. The longest song here is 5:06, so it doesn't appear they were stretching the boundaries of heavy metal, which is what I would have been looking for.

And now that I'm hearing the album for the first time, I can attest to that last statement. Not groundbreaking at all. That said, I find the music on Heir Apparent's debut very pleasing. It doesn't take long to figure out that the band bears close resemblance to that of same era Queensryche. That's not a coincidence given they often interacted with each other and both were from Seattle. Long before the nihilistic grunge movement was to take over, bands all over the US were more influenced by the fantasy driven NWOBHM groups of the era. Right from the off, you are greeted by Paul Davidson's high pitched yet soothing voice. Sounding every bit like Geoff Tate in his prime without the histrionics. Guitarist Terry Gorle brings a lot of the 70s decade with him, especially in his use of the wah wah pedal on his solos. His tone isn't particularly heavy for the era, so the band relies on melodicism. And it's here that Heir Apparent shines greatest, as it's apparent (had to do it) they spent quite a bit of time both writing and arranging these songs, including the instrumentals.

The greatest part about discovering albums like Graceful Inheritance is that I know I missed tons of excellent metal albums from the mid to late 80s and early 90s. I didn't have much money in college, and once I was released (haha - yea, released) I was way deep into putting paychecks to global prog albums.

Ownership: 1986 Black Dragon (LP). Lyric inner bag.

Also own and need to review their follow up One Small Voice.

9/27/25 (acquired / review)

Release Music Orchestra ~ Germany

Vlotho 1977 (2022)

Release Music Orchestra is one of the very few bands where I've documented my collection in full. For those that I own more than three albums that is to say. Vlotho 1977 is a newish archival document that just arrived here for the first time. Might as well keep the momentum and get right to it.

Let's start with my thoughts from the Umsonst und Draussen festival album itself: "Release Music Orchestra is a relative big name, and this is their first appearance for the free concerts (on LP - they were there for the '76 festival too). Only Kraan is missing at this point! Here, they offer a slow and atmospheric jazz piece." That piece is 'Sonntag' and is track 5 here.

As with the Bremen 1978 show, Release Music Orchestra is far more attuned on Vlotho 1977 to the original premise of the band than what showed up on their later albums. As for the material, only half of the songs appeared on their studio albums, and all of them have been extended considerably from the originals: 'Sundance' (from Get the Ball), 'Torso Im Summerwind' (Garuda), and 'Up By The Riverside' (Beyond the Limit, which hadn't been released by the time of this concert). And the aforementioned 'Sonntag' was released as is on the Vlotho 1977 compilation. The opening new song 'Rico' sets the tone, and pace, with some frenetic drumming before launching into the patented RMO jazz fusion sound. This song was also on the Brain Festival 1977 album, but this version is different.

The extended sections generally allow for more soloing, mostly from saxophonist Gunther Reger, which can get a bit pitchy at times. I found Rurup's keyboard and synthesizer solos more pleasing. Wolfgang Thierfeldt's drumming is quite energetic, and I suspect he met his calorie burn goal for the day.

The final track is a 16 minute jam titled, appropriately enough, 'Free and Outdoors 77', which is the English translation of Umsonst und Draussen. Bassist Frank Fischer shines the brightest here. In conclusion, a very fine archival document from a band that has still been neglected in the reissue market all these years later.

Ownership: 2022 Garden of Delights (CD). Booklet with historical liner notes and photos.

9/25/25 (acquired / review) 

Life (1974)

I've recently written about the second and third RMO releases, but what about their debut? It's different in that it's a live effort, something the band states it wanted to do to capture their energy ("tension and electricity" as they put it). Coming fresh off their former work, under the Tomorrow's Gift moniker, Life has a similar jazz focus, but is geared more towards the upcoming fusion movement. Given the lack of any memorable melodies, I find Life harder to get into than their next two albums, which puts me in the minority camp. However, a couple of repeated listens convinced me Life is at the same level, just a less immediate sound.

Ownership: 1974 Brain (LP). Gatefold cover with full recording details in the center (in both German and English). Life is generally considered the first album on the green label that does not have the word Metronome underneath. However it does still have the word on the cover, and this would be the last album to feature that. 

1998 (acquired); 6/17/21 (review)

Get the Ball (1976)

On RYM, they have a feature called "Discussion" that is embedded within each album's page. It will show if that specific album has been referenced directly (via link) in a specific thread by one of the contributors. What's most interesting about Release Music Orchestra's third album Get The Ball, is the title of the three threads it has been mentioned as a part of (as I write these notes): 1) "Funky Krautrock"; 2) "Synth-Oriented Krautrock"; 3)"Gimme More Jazz Fusion Like..." That folks, is my review of the album right there.

RMO is clearly moving away from their Canterburyish sophomore release Garuda, and heading more into the trendy funky fusion waters of the era. On paper, that sounds like a potential disaster, but in the hands of the veteran RMO, it all comes together nicely. Some fantastic Rhodes and synthesizer work can be heard, and the rhythm section is always on point and edgy. The female vocals only add to the vibe. A very consistent album, where every track could be considered excellent.

Ownership: 1976 Brain (LP)

2010; 9/21/18 (acquired / review)

Garuda (1975)

Release Music Orchestra is Tomorrow's Gift version 3.0 and Garuda is their second album under this moniker. By this time, the band are a well oiled machine, and they mix expert musicianship with strong melodies and complex compositions. The title track is sit-up-and-pay-attention worthy, and is a strong Canterbury styled tune similar to Hatfield and the North at their peak. When Release Music Orchestra catch a groove, the results are divine. There are five fully realized compositions on Garuda, and five "Zwischenspiel's", which translates to interludes. Each member gets a short 30 seconds to a minute to improvise. While not exactly on the same level of Yes' Fragile, I do prefer the efficiency. Of these, I thoroughly enjoyed Manfred Rurup's (keyboards) and Margit Haberland's (vocal) contributions. Overall I'd submit that Release Music Orchestra are a bit more jazzy than other German followers of the Canterbury sound such as Brainstorm and Tortilla Flat, but they would still have to be considered pioneers in the upcoming Kraut Fusion movement that was to dominate the landscape in the next few years.

Ownership: 1975 Brain (LP)

1997 (acquired); 1999; 7/11/18 (review)

Bremen 1978 (2004)

Live recording from their Beyond the Limit years. Way more stretched out and improvisational than the album proper. Takes a bit to get going, but once they catch the groove, they zone out into an earlier and more pure era of music. No more sunny skies, fake smiles, and bad teeth. This is Kraut Fusion for the Umsonst und Draussen set.

Ownership: 2004 Garden of Delights (CD). Booklet with historical liners.

8/6/17 (acquired / review)

---

None of the RMO albums have been reissued as I update this post (9/25/25).

8/6/17 (new entry)

Manilla Road ~ USA ~ Wichita, Kansas

The Courts of Chaos (1990)

In the last years of the original incarnation of Manilla Road (< 1993), Mark Shelton was trying to escape the moniker. For The Courts of Chaos he wanted to use his own name (and did on the domestic cassette release). French label Black Dragon would hear none of it as they felt the brand was established and the music wasn't so different than prior. I can appreciate the label's position, and kind of glad it worked out that way. However, you can also hear why Shelton felt differently. At this point he was embracing synthesizers (played by drummer Randy Foxe) and also moving into a more progressive rock direction. Like Iron Maiden's Steve Harris, he was always a progger at heart, though heavy metal was his true calling. The album starts with a synth heavy instrumental, and it's at least six minutes into the album before we hear Shelton's familiar nasally growl. The third track is a cover of Bloodrock's DOA (their only cover song on a studio album), and an inventive one at that. The metal is less epic than their classic 80s albums, and has moments of tech thrash, a nice diversion for the band. Much crisper and more interesting than Out of the Abyss' attempts at similar. Shelton's guitar tone is more processed than usual, though still very much rough edged.

This was to be the last Manilla Road album with the classic trio lineup. Interest in the band had diminished and there seemed to be no reason to continue on. I seem to remember feeling the same way, not obtaining the album for another three years after release. It was due to a friend who pushed the album on me, thank goodness. It was during the 1990s that Europe gained a renewed fascination with Manilla Road's creation of epic metal. This lead to a reformation that lasted about 17 years until Shelton's untimely death (see below).

Note that the original LP leaves off the three part, eight minute 'The Books of Skelos'. This song was on the original CD release from the same year. All of the CD reissues have this track as well. And it's not to be missed.

The CD adds a live version of 'Far Side of the Sun' from their debut Invasion album. Fun to hear them revisiting their proggy hard rock past with a metalized version.

Ownership:

1990 Black Dragon (LP). Lyric inner bag.

2002 Iron Glory (CD). Booklet with lyrics and recording details. One bonus track.

1993 (acquired); 3//06; 7/11/13; 9/22/25 (review)
 

Out of the Abyss (1988)

As you can clearly see below, I was an established Manilla Road fan by the time Out of the Abyss was released. I bought the LP dutifully when it came out, though it wasn't the type of metal I was looking for post college. Then came the opener 'Whitechapel' which was a real curveball from the Road. It starts off as straight up thrash before shifting into other metal tempos. The problem, to my ears at the time, is it wasn't heavy enough to play in the thrash game. It was an inauspicious start for the album because a) it isn't that great of a track to begin with, b) has little to do with the Manilla Road patented epic metal sound and c) it wasn't indicative of the music that was to follow on the album. Not sure why I never really gave the rest a chance, and it was to be the only Manilla Road LP I released out of the collection. It wasn't until seven years ago that I finally revisited the title via the CD reissue, and realized that Out of the Abyss wasn't really that far off the rails as I had initially thought. Still I'd submit it's more of a follower album than a leader, which the band is noted to be. Sort of what I said about Pink Floyd's Meddle in 1971. All the same, were I to rate all of the studio Manilla Road albums pre-reformation (and not counting Circus Maximus, which is a different band really), then Out of the Abyss would still come in last. And it's a very good album, demonstrating how strong the band were in their prime.

Ownership: 2005 Cult Metal Classics (2xCD). Includes their live Roadkill album (CD version which is significantly longer than the LP). Lengthy liner notes from Mark Shelton.

1988 (first acquired); 2/3/18; 5/20/25 (review)  

Crystal Logic (1983)

I've referenced this album many times, but never have featured it prior. I bought this album without knowing anything about the band or what they sounded like. It was on the wall of a local record store, and with a cover (and song titles) like that, I just presumed it had to be a killer metal album. I rarely would do that with new and costly albums, but I was drawn to the cover like a magnet. And my instincts proved me correct. Though at first I had some hesitancy. In retrospect, Crystal Logic is a transitional album for Manilla Road. And that unfolds through the album itself. 'Prologue' opens things up promisingly enough with a Rush-like 'Necromancer' narrative bit. This leads to the speed metalish 'Necropolis'. The guitar tone is raw and dry, and Mark Shelton sounds particularly nasal here, even more than usual. The song is almost showtooney to be honest. It's not the darkened heavy metal one would associate with the cover. This leads to the title track, and Manilla Road is inching closer to the sound they would be famous for. And then comes the infamous 'Feeling Free Again'. One last look back at their 70s heritage. With lyrics like "I got a feel for life girl, hey baay-bay I'm feeling free again... I'd never thought it's feel like this, now I'm in love with you". Some real heady stuff there. It's a good pop metal song actually. It just happens to be on the wrong album.

And then Manilla Road became Manilla Road. 

From here on out, it's epic metal in all its glory. The birth of the sound as it were. 'The Riddle Master' is everything you want in an epic metal track. Heavy riffs, sinister vocals, and psychedelic guitar solos. The latter is something Shelton dragged along from the 70s, and never let go of fortunately. He wasn't a modern million-chromatic-scale-notes-per-second kind of soloist. He preferred expressive solos, as were more common in the decade prior. All of Side 2 is excellent, with the uptempo 'The Ram' followed by the dark and eerie 'The Veils of Negative Existence'. You'd almost think Shelton was from Europe with his unusual pronunciations. "Negaahteeve Exeestaahnse". And then comes the closer, the blueprint for epic metal to come. 'Dreams of Eschaton' is why you buy albums that have covers that look like Crystal Logic. It just pounds away with one helluva killer riff and Shelton's echoed and impassioned vocals are the icing on the cake. All this leads to one last awesome solo drifting into the mists of time. Groundbreaking - and the beginning of an era.

The CD adds one bonus track 'Flaming Metal Systems' which was originally released on Shrapnel's U.S. Metal Vol. III. This track sounds like Van Halen's 'Eruption' mixed with speed metal. The label curiously placed it between 'Necropolis' and 'Crystal Logic', which kind of makes sense when reviewing the album and its progression. 

Ownership: 

1983 Roadster (LP)

2000 Iron Glory (CD)

1//84 (acquired); 2004; 7/2/15; 9/28/19; 8/23/21 (review)

To Kill a King (2017)

I knew this was going to be a tough listen. I was all of 19 when I visited my favorite import/indie store in Dallas (Metamorphosis for those old-timers that were there). On the wall they were featuring a most fascinating looking new album. I'd never heard of the band, but it just looked so cool, I had to buy it. It was during the Christmas break from college... 1983. Yes, that album was Crystal Logic (still own that exact LP copy). And from that point forward Manilla Road were intertwined with various personal life events. I even went to band leader Mark Shelton's house in Wichita back in 1991. At the time, he was very excited about his new project Circus Maximus, something that didn't really take off, except for one album, released against his will as Manilla Road.

As is often the case, we all go in different directions. Shelton himself took close to a decade off from recording. My career and personal life took me away from being deeply immersed into the music world, moving more towards strictly a remote music collector. When Manilla Road resurfaced in 2001, I continued to follow the group and buy their albums, but not in the same fanatical way. No more contact, or seeing them live.

During this time, I watched with fascination as Manilla Road went from a barely known metal band that only a few of us knew, to that of true legend. It pleases me no end to see those much younger than I truly appreciate the music that Manilla Road has put out all these years. That legend will continue to grow, this I'm sure of.

To Kill a King will likely be the last Manilla Road album. It wouldn't make sense to maintain the brand, as Shelton was the brand. There was no opportunity for hand off, or to cultivate a successor. Mark Shelton's death came as a shock to us all. He didn't die early (relatively) the way many musicians unfortunately do via self-destructive behavior. Rather he went out the way true warriors do - in the middle of the battle. In effect he died of heat exhaustion, literally playing his heart out for his fans. It was a fitting way to go, though far too early for a man that seemed to never lose his way - where creativity continued to spring like a fountain.

The irony here is that To Kill a King was a look backward - to the very roots of Manilla Road. At the time when they were just as much a proggy hard rock band as anything heavy metal. One could easily hear To Kill a King as a lost album between Metal and Crystal Logic, with some excursions into more modern metal ('The Arena' in particular). To Kill a King is not Manilla Road's most exciting or innovative album, but it's great to hear a turn-back-the-clock album such as this. Perhaps Shelton subconsciously knew his fate, and wanted one last shot at an older style.

If you've never heard Manilla Road, and you're not really a metal fan (in the more modern sense), then To Kill a King would be a great way to immerse yourself into this most fascinating world. And then perhaps work your way through the catalog starting at Crystal Logic up to their masterpiece (IMO) The Deluge.

One fun fact for you: If you drive east on I-70 from Denver towards Kansas, there's an exit for a... Manilla Road. I've always wondered about that.

Now I'm afraid it's time to say goodbye, Mark Shelton. Thank you for everything.

Ownership: 2017 Golden Core (CD). Tri-fold digipak with a booklet containing lyrics and photos. 

11/30/19 (review)

The Deluge (1986)

Manilla Road's peak album among a whole canon of peak albums. The ultimate epic metal performed at a time (1986) when everything was synthesized and slick-as-a-butter-dish. The Deluge is the antithesis - perhaps remedy - to all that was wrong in those misguided middle 80s. And the drumming on this album is insane, it's also like it is just off meter (a little bit) that adds to the urgency. There's an awesome moment in the middle of the lengthy title track that must be heard - incredible riff and drumming! The loss of Mark Shelton cannot be understated. He followed his own direction and made his own music. One that was pretty much ignored upon release (especially here in the US - I was one of the few here who bought it as soon as available) but many years later found his audience. Which continues to expand - and will grow for generations. He died a true warrior - after playing a concert in Germany, pounding it out at age 60 as if he was still 19. Look for the The Deluge to one day be considered a Top 5 album of the year in which it was released. It's timeless. 

Ownership: 

1986 Black Dragon (LP)

2011 Shadow Kingdom (CD). Liner notes from Shelton, plenty of photos, and lyrics.

1986 (acquired); 11/5/11; 12/23/18 (review)

Open the Gates (1985)

Nobody mixed riff based metal with psychedelic hard rock better than Manilla Road. All wrapped up with fantasy Medieval lyrics and artwork to cuddle up with. It's a big sloppy mess, but wonderfully so. Imperfection never sounded so good. At times Shelton sounds like Frank Marino, as he noodles away wildly, seemingly without purpose, with a crazy racket storming behind him. 'The Ninth Wave' is yet another perfect Manilla Road epic metal track - one that basically reiterates their invention of the style. Manilla Road are for those of you who like Hollywood leading men with scars and lots of wrinkles. If you came here looking for crisply executed, slickly produced, and perfectly played metal - then you cannot possibly be more lost.

Ownership: 

1985 Black Dragon (LP + EP)

2001 Dragonheart (CD)

1993 (acquired); 12/9/11; 10/13/15 (review)

Mark of the Beast (1981-1982 / 2002)

So the story goes that this album was originally intended to be the second Manilla Road release after Invasion, but was scrapped, and Metal ended up being the final product. The title was to be Dreams of Eschaton. I'm not buying it for one second. There's way too much variation of style and sound quality here to be a coherent album. Not to mention the 66 minute length (double LP? C'mon...). But this is the story Mark Shelton himself tells, but we know how it goes with bands and their memories...

What I will believe, though, is that these are demo recordings from the 1981/1982 time frame, and that would fit the label owner's story of him receiving it at that time as a teenager. It's important to remember that Manilla Road were a hard rock band at their beginning, with psychedelic guitar and progressive lyrical themes. And mostly that's what you get here, along with some of their early chugging metal style that was present on Metal.

It's mostly a solid psychedelic hard rock release, with a couple of down moments like 'Court of Avalon' and 'Venusian Sea' both of which seem go nowhere beyond hearing Shelton sing for way past the song's shelf life. So 13 minutes of just-OK music is hardly a bad batting average. On the flip side....

'Avatar' has to be heard to be believed. To me, this is the perfect 5 star track. What a glorious mess of a song. It is all over the place. It's psychedelic, it's hard rock, it's metal, and it's progressive. All at the same time. I absolutely adore this time in music when there were obvious influences - yes - but not properly placed at all. There were no rules, just whatever they felt like doing, whenever they felt like doing it. You could hear this track forever and not hear it the same twice. I want a triple album of music like this! And then follows 'Dream Sequence' which is an organ dirge with echoed voices, sounding right off a 1970 German Ohr Krautrock album. And no keyboards are credited! Guys, are you sure you did this?

Anyway, so much material here, and plenty more inconsistencies that make it so weird and wonderful. In other words: Must own album!

Ownership: 2002 Monster (CD). Includes all the lyrics and a history of the album penned by one of the label owners.

2004 (acquired); 7/20/15 (review)

Other albums I own and need to review: Invasion; Metal; Mystification; Atlantis Rising; Spiral Castle; Gates of Fire; Voyager; Playground of the Damned; Mysterium; The Blessed Curse; Roadkill; After Midnight Live

7/20/15 (new entry)

Redshift ~ England

VII: Oblivion (2004)

---Jun 2005

Redshift are now down to a trio, minus guitarist Rob Jenkins. Oblivion is more about emotional soundscapes rather than complex sequences and sharp dynamics. I think the absence of guitar hurts the intensity somewhat. For those that wish Redshift would branch out more, this might be the perfect entry point. Still no mistaking their collective Berlin influences - or overall identity though. Highlight for me is the near 15 minute 'Runes', considering its creative and atmospheric Moog sequencing.

---9/22/25

'Runes' is old school Redshift for certain. More sequence heavy than I recall. The album closes with choir mellotron, which may be the greatest sound ever created (well other than maybe the flute tapes, also on this track). When thinking about Redshift, it's like going to your favorite restaurant, and ordering your favorite meal. Even though you instinctively know you should try something else. But you have a craving, and that meal satisfies every time. There are definite differences in their albums, as the below reviews suggest. At some point, I'll likely trim a few more of these titles, including this and Siren below. But I'm in no hurry. The restaurant will close before I change dishes. The band is no more due to Shreeve's demise, but he left quite a legacy to explore.

Ownership: 2004 Distant Sun (CD)

6//05 (acquired / review); 8/18/13; 9/22/25 (update)  

IV: Siren (2002) 

As with Radio Massacre International (RMI), I have a large amount of Redshift CDs. In this case I own 12 of them (ed: now 11). Of all the great bands operating in the retro Berlin School Electronic space, I would submit that Redshift are the best of the lot. Even within those tight confines, I had Siren in the upper tier. This listen may have moved it down to the second division. Which is still excellent in my book, but the competition is fierce. Siren is from their 1999 Alfa Centauri concert, and features them as a quartet, which was their best lineup. Veteran synthesist Mark Shreeve leads the group with his Modular Moog in tow. Literally you need a tow truck to move it around. When folks talk about fat analog sequences, you cannot surpass the original Moog. And that's on full display here. Like with RMI, Baumann era Tangerine Dream is the blueprint. Maybe more towards Rubycon than RMI's Encore sounds. As wonderful as Siren is, I would suggest it is one of their more mellow releases. There isn't the sequencer, mellotron, and guitar rave-ups that you'll find on their best albums. Siren is sort of their Stratosfear if making a comparison. The best track is 'Bombers in the Desert', but that is not a new composition, coming from arguably their best album Ether. Everything else is new to this recording.

Ownership: 2002 Distant Sun (CD)

2003 (acquired); 11/11/16; 6/26/22 (review)

RW2 | Redshift Wild 2 (1996-2002 / 2006)

Redshift's Wild series is their name for the band's archival material. Originally conceived as a CD-R only project (similar to country mates Radio Massacre International), they decided the material was worthy of factory CD status. And I agree. Wild 2 is an odds n' sods release of unreleased recordings made up from 1996 to 2002. Only Redshift could release a masterpiece made up of leftovers! The two early tracks from 1996 are the brilliant 'Prime' (their first ever recording) and 'Heaven Is a Turquoise Avenger'. If you're looking for that thick Moog sound, with complex sequencing, mellotrons, and Edgar Froese styled psychedelic guitar, well then... here you go. I'm always looking for that! Redshift were the best of the Berlin School revivalists IMO.

Ownership: 2006 Distant Sun (CD)

2009 (acquired); 8/30/18 (review)

Colder (2011)

Colder is the 14th album by Redshift (in the world of electronic music, live albums are often akin to a new studio release in that it's usually all entirely unique material). By this time, the ensemble Redshift had been around 15 years, and Mark Shreeve and Ian Boddy themselves have been going at it for 30 years (recorded history that is). So you should know what you're going to get here. And that's exactly what you do get. What's that again?

Oh yes. You get good old fashion Berlin School heavy thick wedgy Big Moog analog heaven. Excellent melodies are dispersed, there are plenty of dynamic and meter shifts, and the whole thing oozes atmosphere. Redshift are a few years from their peak era of the late 90s and early 2000's (lack of real guitar does diminish their sound a bit), but this concert from 2010 is no slouch. The trio are clearly engaged, in sync, and shows off their professionalism. With Ian Boddy on board, the distinction between Redshift and ARC blurs a bit, but I'd say the former is heavier while the latter is more kinetic. 

---3/12/24

I decided to move this out as I have plenty of similar albums by Redshift and ARC. Last in first out (LIFO).

Former ownership: 2011 Distant Sun (CD)

6/29/18 (acquired / review); 3/1/24

Redshift (1996)

Redshift, in my mind anyway, are the premier Berlin School revivalists from the UK. They started as a quartet led by accomplished synthesist Mark Shreeve, and their blueprint is Baumann era Tangerine Dream. Nobody does it better, and it seems Redshift picked up where Tangerine Dream left off after Stratosfear. Their debut perhaps apes their mentors more than later efforts, but is by no means unoriginal. 'Redshift' is sometimes jokingly, or reverentially, referred to as 'Rubycon Part 3', as the sounds created from the Moog and the mellotron are identical to Tangerine Dream's greatest work. The music, however, is entirely Redshift's, proving that there are many doors still open within this house. 'Spin' is the highlight of the album and demonstrates Redshift's trademark variation of the classic Berlin School of music. 'Shine' is a short but effective sequencer driven piece while 'Blueshift' represents the longest track, though one third is a boring outro that could have been trimmed. Many consider this piece to be the highlight, and while good, isn't up to the standards of the first two tracks. Redshift were to improve dramatically for their sophomore album Ether - for me one of the greatest electronic albums of all time. 

Ownership: 1996 Champagne Lake (CD)

2003 (acquired); 8/28/10 (review); 7/20/18

Other albums I own and need to review: Ether; Down Time; Halo; Faultline; Toll; Last; Turning Towards Us

8/28/10 (new entry)

Kristen Nogues ~ France

Marc'h Gouez (1976)

---5/13/07

Kristen Nogues debut album (and her only solo for another 14 years) can be succinctly described as haunting Celtic folk music from Breton sung in the local tongue. Soft female vocals, violin, harp, acoustic guitar, hand percussion, and bombarde provide the instrumental backdrop. Quiet and introspective, with a mystical aura. One imagines hearing tales of love and war, while cuddled around the fire, as the cold fog envelopes the rocky green coast of Brittany. Essential listening for fans of Emmanuelle Parrenin.

---9/22/25

The above certainly encapsulates the atmosphere. Nogues' voice is really enchanting. Soft and mysterious. There are no less than ten musicians participating here plus Nogues, whose harp is the primary feature. While not really my music of choice, I find the album quite soothing. I have very little of this style in the collection, and this is an excellent representative, so worth keeping.

Ownership: 1976 Nevenoe (LP). Gatefold.

This was in the CDRWL (though never featured) until reissued by SouffleContinu (2023).

5/13/07 (review); 11/6/13 (acquired); 9/22/25 (update / new entry)

John Macey ~ USA ~ New Jersey

Meltdown (1984)

New Jersey based guitarist John Macey released three albums in his lifetime, with Meltdown being his second. Mostly this is a rough edged fusion album, far away from the glossy 80s. Pretty much the opposite of the ECM dominated jazz sounds of the day. He's on the same plane with Tony Noterfonzo, Robert Baglione (Continuum), Derek Newark, and others. There's also some of that Stevie Ray Vaughan Texas Blues going on as well. Perhaps you've heard of that special guest? Highlights are the smoking opener and closer.

Love the response cover to legendary fellow Jersey fusion guitarist Al Di Meola. Remember Elegant Gypsy? He's all dressed up in a 2 piece, while the beautiful flamenco dancer promises a romantic dalliance. Macey gives us the other-side-of-the-tracks point of view. Note label name as well.

Ownership: 1984 G-String (LP)

9/17/18 (acquired); 9/15/25 (review / new entry)

Pochakaite Malko ~ Japan

Laya (2004)

---March 2005

I loved Pochakaite Malko's debut, so now with KBB’s Akihisa Tsuboy on violin, I figure I’m in for a major treat. And I am! I sure find music like this so easy to listen to. Familiar, yet engaging. Creative, but not groundbreaking. This isn’t Cafeine = Ange more like Anglagard = SFF. Here it’s what? Weidorje / Zao / Daryl Way's Wolf? Same approach, different result. Heavy keyboards, thrashing violin, highly melodic, complex, with a great production.

---9/15/25

It's been 20 years since I heard either of Pochakaite Malko's albums. The first thing I noticed is there isn't guitar on the album and yet Tsuboy's violin often times sounds like one, which is quite cool. My recollection is this album was more steeped in the Zeuhl tradition. But it's clear they have an avant prog slant to them as well. The intensity recalls Happy Family with the violin giving it a Zao feel. But there's no chanting or Kobaian vocals here. One could also make an argument this is a heavy jazz fusion album, just like Tsuboy's KBB outfit. There are similarities between those bands as well. Categorization aside, Laya is a fun listen for those attuned to such sounds. It can be a bit overwhelming, and certainly not the kind of album for beginners. It's just too much at once, but not nauseous like related band Koenjihyakkei could be at times.

In case you're wondering, the band moniker is Bulgarian not Japanese.

Ownership: 2004 Tutinoko (CD). Booklet with photo and recording details.

3//05 (acquired / review); 9/15/25 (update)

Also own and need to review Pochakaite Malko (2001). They released one more mini album Doppelganger (2006) which I've heard but never owned.

9/15/25 (new entry)

Secret Saucer ~ USA ~ Cleveland, Ohio

Element 115 (2001 / 2005)

I was reviewing the notes below while listening to the first few tunes on Element 115. This was Secret Saucer's debut and is much more geared towards pure space rock than Second Sighting. In this way, Element 115 ties closer to Tri-Angle Waves. Mostly the album is slow paced spacey blues rock with loud psychedelic lead guitar and swooshing synthesizers. Imagine mid 70s Pink Floyd as strictly an instrumental jam band. I quite like the processed organ sound on track 11. 

Secret Saucer were carved out of another space rock collective from the area known as Quarkspace, who had a similar motif. That band were more improvisational in nature, so their albums were more hit and miss. Secret Saucer, while certainly not conservatory styled composers, do seem to have a beginning, middle, and end in mind before entering the studio. Recorded in 2001, it is documented that this album was indeed purely improvised. Pretty impressive then. As a debut, I find the album refreshing as we are treated to a new set of sounds from a unique mix of musicians. Tri-Angle Waves was "too much of the same thing" for me, thus it didn't make the cut.

Both ProgArchives and RYM have very few ratings for Secret Saucer's albums, but strangely PA has Second Sighting considerably lower. For my tastes, I prefer it to other two I've heard. See below as to why.

Ownership: 2005 Dead Earnest (CD). Booklet with recording details.

8/27/10 (first listen); 3/7/11 (acquired); 9/15/25 (review)
 

Second Sighting (2007)

Second Sighting is Secret Saucer's second album (quite alliterative I'd suggest). It took me a long time to digest this one. Though I first purchased the CD seven years ago (a few years after initial release), it's not one I had absorbed at all. When I began to tackle it a few days ago, I didn't think it would take me a week to grasp it. But sometimes that's what it takes. The reward is I raised the rating, and Second Sight definitely is a cut above your garden variety modern space rock album. Though ironically it doesn't start that way. 'Lift Off' is a prototypical Ozric Tentacles styled opening with whooshing synthesizers and ripping guitar solos. After that the album shows a wide array of influences. 'All the Way to Outer Space' has a strong bluesy hard rock twist, that is unusual in this type of setting. 'D-Walker' introduces the key ingredient to the album's success: Piano. There's something magical about the sound of the grand old dame of acoustic keyboards juxtaposed against modern synthesizers and electronics. 'Tranquility Base' introduces yet another form, that of electronica, though still very much rooted in space rock principles. 'Untitled Dream' sounds like an outtake from Edgar Froese's Ages album, and is heavily drenched in discordant mellotron (sampled I'm sure, but very well done). The album peaks on the 'Disintegrator' / 'Integrator' duet where the piano is quite prominent while the intensity is raised. By now you'll find yourself fully immersed into their sound. 'Reflections' adds electric sitar to great effect. Every track is great, and most feature well written compositions and melodies. This is a far cry from your garden variety jamming space rock band. If looking for something different in the space rock field, give this one a shot.

Ownership: 2007 Dead Earnest (CD)

3/13/11 (acquired); 5/11/18 (review)

Tri-Angle Waves (2009)

Secret Saucer are an Ohio based group (not far from Cleveland), who've been around more or less for about ten years or so. Tri-Angle Waves is their 3rd album. There's little here you haven't heard before, but a good space rock jam is still exciting to hear, that moment when it all comes together, and the fiery guitar solo sends you over the edge. All the genre's norms are on display here: Swooshing synthesizers, blazing guitars with as many effects applied as possible, constant heavy bass and drums - and with very little attention paid to meter shifting or dynamics... or melody. With Secret Saucer, you're getting exactly what you came for. When you go to In-N-Out Burger, you want a good cheeseburger, not foie gras. And Secret Saucer serves up a mean cheeseburger.

Former ownership: 2009 Salad Farm Studio (CD)

2/8/11 (acquired / review); 7/27/22 (update)

Secret Saucer went on to release four more studio albums. I certainly would be up for hearing any and all at some point. Four on the Floor seems to be the consensus favorite to date.

2/8/11 (new entry)

Ashbury ~ USA ~ Tucson, Arizona

Endless Skies (1983)

Ashbury South were a hard rock band from Oklahoma that relocated to Tucson, Arizona before hitting the studio to release their sole album until modern times. Though released in 1983, the band's appearance, their overall sound, and album cover all look like it's still 1977. Musically Ashbury were all over the map, not atypical of the 70s aesthetic. A3 to A5 demonstrates this. 'Twilight' is a short instrumental acoustic guitar number. This is followed by 'Vengeance' that sounds every bit like Black Sabbath circa Sabotage. 'Madman' is similar to a more rocking America and then breaks into a sharp Outlaws styled guitar jam. 'Hard Fight' starts off the B side with what could pass for one of Kansas' more introspective compositions complete with an excellent guitar solo closer. 'No Mourning' is a very Southern rock instrumental with heavy emphasis on the guitar. It's this latter element that ultimately makes Endless Skies such an endearing album. The title track brings both the dog and the butterfly, with a nice mid-song heavy riff, plus a strong closing. I hear Ashbury as something quintessentially American and of its era. The can-do spirit of the 70s, with musicians putting everything they had into one private recording and hoping for the best. Ultimately Endless Skies was too late for the early 80s hard rock buying audience, one that had moved either to slick MTV styled rock, or embraced more aggressive metal positions. The varied approach Ashbury chose wasn't enough to catch the ears of those that mattered.

Ownership: 2019 High Roller (LP) Green vinyl. Has a lyric insert with a brief band history, plus a giant poster of the cool cover art. Also has an insert with the rather impressive amount of albums the German label High Roller had released up until that time.

6/24/11; 9/11/25 (acquired / review)

Ashbury reformed in the 2010's but I haven't heard anything else by the band.

9/11/25 (new entry)

Sergius Golowin ~ Germany

Lord Krishna von Goloka (1973)

Part of the Holy Trinity of Rolf-Ulrich Kaiser's original Die Kosmischen Kuriere project. Schulze, Witthuser, Westrupp, and the Wallenstein boys are all on hand to create the ultimate trip to universal consciousness. Mid 40's Swiss citizen Sergius Golowin recites and whispers, in German, sacred texts surrounding the Bhagavad Gita. Walter Wegmuller paints the inner gatefold, and gives the game away as we see some dude playing flute in the fields for a dancing buxom topless woman. Always gets back to that doesn't it? Hey, whatever it takes.

Sucht Krischna Radha; Sucht Radha Krischna; Sucht Radha Radha; Sucht Krischna Krischna.

Esoteric psychedelic Krautrock at its finest here. Board the Vimanas and off to the heavens we go. No flight is complete without mellotron, tribal drums, and echoed guitar.

Ownership: 
1973 Die Kosmischen Kuriere (LP). Gatefold.

1996 Spalax (CD). Tri-fold digipak.

1989 (acquired); 1996; 9/8/25 (review / new entry)

Nucleus ~ England

We'll Talk About It Later (1971)

For whatever reason, I didn't document Nucleus' second album after digesting Elastic Rock initially. And it appears to have missed entirely the 2010 revisit of Elastic Rock. So I'm on my first listen in 21 years. My rating was higher on this title (RYM and ProgArchives both have it as the highest rated Nucleus studio album overall). Let's see if I can remember why.

Right from the off we are treated to much heavier rock sound than anything the predecessor displayed. A1 is a jamming great opener. A2 strangely reminds me of mid 70s Embryo with its funky wah wah guitar rhythm and soprano sax soloing. Once again, Nucleus were the pioneers. A3 is a lovely moody piece, calling out the best aspects of Elastic Rock. The title track has a wonderful loose electric feel that gets pretty freaky towards the end, also pointing to the best of the Kraut Fusion albums of the early 70s (some Embryo Rocksession here). B1 contains a heavy funk groove with trumpet soling on top, similar to Bitches Brew. Now Nucleus is in student mode, about time. B2 gets all muddy and grungy, love it. Ooh, vocals too. I like them. B3 revisits the primary 1916 theme from Elastic Rock, but in more fiery fashion, with added haunting vocals. Sax a bit too squeaky at the end for my liking.

Overall, this is much better than I remembered, and a classic of its kind. +1 listen and +2 on Elastic Rock. Essential jazz rock.

Ownership: 1994 BGO (2xCD). With Elastic Rock. Booklet with historical liner notes.

 

2004 (acquired); 9/8/25

Elastic Rock (1970)

All these years later, and I have yet to create an entry for Nucleus on UMR. If you don't count later Soft Machine that is. OK, let's start with some notes I found from 21 years ago.

---2004

Better late than never, but Nucleus is a group I had somehow managed to avoid until now. Mixed bag of Brit jazz, Tony Williams’ Lifetime, Canterbury melody, even some Bacharach / Alpert inspired tunes. As many have noted, it's ridiculous how much Krautrock legends Alcatraz rip ‘Torrid Zone’ (and ‘Earth Mother’) on ‘Simple Headphone Mind’ (sure, I like what Alcatraz did with the piece – but how about some credit to Nucleus?). So a Miles Davis / cocktail / Soft Machine blend for the 007 crowd. Listen to some cool proto-fusion and light a cigarette for Barbara Bain.

---9/8/25

That's a good summary of my now-current thoughts considering I didn't have much background at the time. Today I hear this very much like a 1970 era English jazz album that I'm now more familiar with. I noted later that year on a quick revisit how much I really enjoy 'Taranaki' with its gorgeous melody and smooth groove. It's way too short unfortunately. '1916 (Battle of Boogaloo)' is another highlight. 'Torrid Zone' is brilliant, of course. Some pretty intense rhythms on that one. B4 is a drum solo, but it's short. 'Persephones Jive' is an excellent energetic closer.

Ownership: 1994 BGO (2xCD). With We'll Talk About It Later. Booklet with historical liner notes.

2004 (acquired / review); 5/3/10; 9/8/25 (update)

Other albums I own and need to review: Solar Plexus; Belladonna; Under the Sun

9/8/25 (new entry)

Gruppo d'Alternativa ~ Italy

Ipotesi (1972)

Ipotesi starts off in the grand tradition of Italian prog with some native narration, similar to I Giganti and Pholas Dactylus. Some fluttering flute, organ, guitar, bassoon, piano, and impassioned vocals follow. Oh yea, this is the classic Italian prog sound as we know and love it. The jarring dynamic and meter changes equate to elements of Capitolo 6 and Osanna. There's a bit of underlying folk recalling the pastoral moments of Formula 3 and Premiata Forneria Marconi. There's also a light amount of chamber classical music, leading some to compare it to the not-known-yet RIO movement. I see it more of being a highly creative one-off album that did not follow any particular movement, nor did anyone hold then up as an example to imitate. There's also plenty of loose jamming on Side 2 that I find highly appealing in what one would think to be a highly structured setting.

Interesting to note that the narrative one must follow on RYM is that the vocals are terrible. No idea where that notion comes from. They are of-the-era and of-the-scene. Histrionic and passionate, I wouldn't want to hear it any other way.

There weren't a whole lot of Italian progressive rock albums from the early 1970s that were still relatively unknown going into the current century, but Ipotesi was one of them. The album was completely ignored in the reissue market until 2007. I recall hearing about Gruppo d'Alternativa in the 90s, but the running narrative of the catalogs of the time was that they were "experimental" which has a different meaning to me than what the group were about. No more or less experimental than Pholas Dactylus, an accepted classic even back then. So I too ignored this album, which was an obvious mistake. Acquired the LP some 17 years ago, and never looked back.

Ownership: 1972 Harvest (LP). Gatefold. The stock image from Discogs is brighter than the actual album.

2008 (acquired); 9/8/25 (review / new entry) 

War ~ USA ~ Los Angeles, California

War Live (1974)

One of the biggest challenges with collecting War is that their albums are almost always wrecked. Partied out as we used to say. This one wasn't too bad, and at 69 cents, I'm grabbing it. Nice to see that RYM has this as their highest rated album. And most of the tracks have long durations, almost assuring us of a jam session. The only representative of their commercial side is 'The Cisco Kid', so this should prove to be quite the experience. And? Well not really. War is really a soul group playing funk and Latin rock. This isn't Mandrill or Malo by any stretch. When they do jam, it's not really of the intense variety, which is what I was hoping for. Everyone gets their turn, and it sort meanders about. Nothing wrong with that of course, as I'm sure it was a fun concert. Good album on the whole, but not something I need to keep.

Source: 1974 United Artists (2xLP)

6/16/15; 9/6/25 (review) 

War (1971)

I had high hopes for this early effort, but it fell flat to my ears. Mostly this is soul... funk music, with an obvious emphasis on the former. Which can be OK, if the melodies stick. But I'm afraid they didn't with me. The exception here is the album closer 'Fidel's Fantasy', which can only be categorized as weird. And there's a segment in the middle where Charles Miller's flute sounds almost Krautrock like. Lyrically they're going after Castro, which is refreshing during an era where there was too much sympathy for thugs like him. Sort of like today. Hmmm. Comes in a very fine gatefold, and my copy has the "war bond". This was inserted into early copies, and was good for "$1 off for 2 tickets" through Dec. 1973. That sounds trivial today, but concerts didn't used to cost so much, so $1 was a reasonable coupon.

Source: 1971 United Artists (LP)

8/18/21 (review)

Deliver the Word (1973)

After hearing the instrumental opener 'H2 Overture' I thought I was in for a monster of a session. 'In Your Eyes' is a strong follow-up, and this is exactly what I look for in a Latin-tinged funk soul album. Things begin to slip on 'Gypsy Man' which is a fine composition, but there's not enough here to justify its 11+ minute length. 'Me and Baby Brother' is what I would consider the signature sound of War, which isn't necessarily what I like about them most. 'Southern Part of Texas' recalls 'Gypsy Man' to an extent. The title track is the highlight of Side 2 and is a sweet song. 'Blister' is an atmospheric closer. Deliver the Word doesn't live up to the promise of its beginning, but it's definitely a keeper. 

Ownership: 1973 United Artists (LP). Die-cut textured cover.

3/29/21 (acquired / review)

9/6/25 (new entry)

Ted Nugent | The Amboy Dukes ~ USA ~ Detroit, Michigan

The Amboy Dukes - Migration (1969)

Migration has such an interesting opening for a band like the The Amboy Dukes. The title track is a full length psychedelic instrumental followed by the somewhat proggy 'Prodigal Man', complete with an organ soul jazz bit, despite the short drum solo. 'For His Namesake' is really great, very psychedelic with plenty of early progressive rock ideas. I love Nugent's psych tone here, something that would have been cool for him to bring back at some point in his career (90s and beyond). Andy Solomon's organ adds a unique twist, bringing the sound closer to the Bosstown sound of the era. B1 is a bit silly, but the follow up is a killer slice of psych, as is B3. B4 is a bit strange and improves as it goes. Solomon only gets one of his songs in, and he brings in some soul funk, giving it a local Detroit edge. Nugent closes the album with his own hard edged funk track. Migration is a vast improvement compared to their debut. In reading reviews, the major trajectory happened on the predecessor Journey to the Center of the Mind. I'm familiar with the song, but remarkably have yet to hear the album. Hopefully I'll find a copy at some point.

Ownership: 1969 Mainstream (LP)

9/5/25 (acquired / review)

Cat Scratch Fever (1977)

Ah Terrible Ted. Love him or hate him one cannot deny his presence on the worldwide hard rock stage. I enjoy his first two solo studio albums, and this is his third and most popular. It's been over 40 years since I heard it in full, going back to early high school. This is certainly better than I remembered and a few of these tracks received airplay back then. It's fairly melodic too, conjuring up Nugent's past with The Amboy Dukes. He was a superstar during this time, and Cat Scratch Fever helped solidify his reputation. He was to lose his edge shortly thereafter, but he still was a major force as a live act, and one I got to see in 1980. Full of energy that man was.

Ownership: 1977 Epic (LP). Gatefold

1979 (first heard); 8/18/24 (review)

The Amboy Dukes (1967)

The Amboy Dukes debut, and Ted Nugent's first appearance. On a psych album, contrary to his image. Pretty good effort, mixing his hard rock tendencies with flower power sounds and ideas. B1 is fairly dull but most of this is satisfying on some level. Is that Nuge playing the sitar? Hard to even fathom.

Ownership: 1967 Mainstream (LP)

8/12/24 (acquired / review)

Nugent (1982)

If the Nuge had kept his mouth shut, his albums would likely garner more of a following today. But in the music collecting world, he is persona non grata, for right or wrong. As such his records end up in free boxes, and no one still wants them. Of course the album known as Nugent is hardly on anyone's Ted Nugent wish list to begin with. I'd never heard it, so why not, can't beat the price (free). At this stage of his life, he was trying to shed his Terrible Ted image, and go all sensitive. The music doesn't reflect that image though. It's mostly straightforward boring - and very dull - hard rock. However, there is one great track and that's the finale known as 'Tailgunner'. This sadly unknown track was wasted here, but recalls the glory days of 'Stranglehold'. So overall it was worth hearing for that. 

Source: 1982 Atlantic (LP)

4/6/23 (review)

Double Live Gonzo! (1978) 

I have a soft spot for Terrible Ted, since he was the first major arena concert I ever saw, only a year plus after this live release. It's a strange mix, in that it completely ignores Free For All (very good album), or even his latest release at the time - Weekend Warriors (not so good). The majority of the double album is culled from his fertile 1974-75 period which includes his last album with The Amboy Dukes name (Tooth, Fang & Claw) as well as his famed self-titled debut. It's a very good energetic set, but I'm fine with the few Nugent albums I already own. And Nugent isn't the greatest guitar improviser. 

Source: 1978 Epic (2xLP)

7/7/21 (review)

Other albums I own and need to review: Ted Nugent (1975); Free For All

9/5/25 (new entry)

Davie Allan and The Arrows ~ USA ~ Los Angeles, California

Vol. II The Wild Angels (1966)

And now, after all these years, I've finally heard a vintage Davie Allan and The Arrows album. 1966 is a bit early in the game to have a relevant psych album, though the opener certainly indicates what it could have been. Mostly this is exploitation, where the titles and concept are far more radical than the music within. 'Arriba' is mariachi for crying out loud. At this point, Allan and his motley crew aren't really that far from Dick Dale and his surfing buddies from a few years before.

Source: 1966 Tower Mono (LP)

9/4/25 (review)
 

Fuzz Fest (1996)

In the year 2000, I had a friend who owned a record store in the Denver area, and who owed me a few dollars from a previous transaction. He told me to stop by and pick out anything I wanted. So after finding a couple of gems, I was still about $10 short. I couldn't find anything of interest, so after mulling about for 30 minutes, I just settled on a sealed LP of Fuzz Fest.

I'd heard of Davie Allan & The Arrows, but never heard their music prior. That remains true even today, 18 years later (I mean the classic mid 60s stuff of course). Based on the reviews I've seen, I can pretty much ascertain where the music will fall. And I think that bias tainted my initial listen, as 1) I recall little about it and 2) I just figured this was some dude in his 50s recreating - or cashing in on - a past legacy.

Wrong! Hold that thought.

In the early 90s the American label I.R.S. had a popular series (in the underground anyway) called Guitar Speak. In effect, these were various artists albums where a famous guitarist from the 60s and 70s (anyone from Montrose to Akkerman to Iommi and beyond) would provide a unique guitar based instrumental track. These albums were surprisingly quite good, and most of the guitarists did not succumb to showboating or shredding.

Davie Allan would have been a perfect fit for the above series (many released a full album of similar). Of course the biker themes are still prevalent throughout, but this is not some cornball soundtrack - and it most certainly is not Surf Rock! The Ventures will not enter your mind here. What you get is 15 (14 in my case because I have the LP) quality guitar instrumentals. Every once in a while a mid 60s styled motif would appear, but mostly this sounds every bit like a modern instrumental rock album - with lots of cool fuzz guitar. All the songs are well thought out, and there's plenty to derive out of each one.

Really surprised the heck out of me. A definite keeper.

Ownership: 1998 Total Energy (LP)

2000 (acquired); 8/25/18 (review)

8/25/18 (new entry)