2025 Metal Journal Vol. 2

Dreamscape - End of Silence. 2004 Massacre (CD). Back into that 2016 metal buy that I tackle every few months. There have been some gems in there, and sit comfortably in the collection. And a lot of Dream Theater clones. Here's another one, this time from Germany. It must have been mandated in Europe during the mid 2000s, that all prog metal bands must sound like Dream Theater. It is decreed. Rather than write a review here, let me find one I wrote already, and see if it applies. OK, here's one from the first 2025 Metal Journal: "Seventh Wonder - Waiting in the Wings. 2006 Lion (CD). Want to guess what this sounds like? Yep, more Dream Theater worship with a European power pop sensibility. These albums follow a pattern and they are instantly recognizable. By default they will nail a sequence or two that I find interesting. This isn't easy music to play and the band are to be commended for attempting the complexity. Problem for me is that it was done pretty much exactly in the same style a decade prior. But if you can't get enough of it, here's one more for you." Yep, that's about right. In a way I feel bad for dismissing these releases so easily. They are very good performers, across the board including the vocals, but does that mean I'm going to be excited to hear it again? Just the way it is. I have another title from these guys (from the same buy), we'll see how it goes whenever I get to it. (10/30)

Heretic - The Breaking Point. 1988 Metal Blade (LP). I picked up this LP online over five years ago primarily because it's the band that Metal Church's second vocalist Mike Howe came from. I remember the Los Angeles based Heretic from college, though they only had released an EP at that point, which I didn't hear. Musically, Metal Church is also a good guidepost. And you can certainly do worse than that. Melodic power metal, with touches of thrash abound. One of many bands from this era that had talent to burn, but without much corporate backing, only a few would survive and thrive. Howe would subsequently leave Heretic and join Metal Church, arguably their best vocalist, and propelling them to even greater heights. The Breaking Point is a very good album, definitely in my strike zone, though it doesn't stand out against the stiff competition that was the late 80s metal landscape. Since I don't really have any history with this album, and lacking any noticeable highs, I think I'll let this one fly and take the revenue. Though the various CDs are somewhat scarce, if I do find one in the wilds, I'll probably keep it. (10/27)

Explorers Club - Age of Impact. 1998 Magna Carta (CD). Someone around town has been dumping a very nice progressive rock collection (among other styles) into the thrift shops, all in minty condition. Not the hardcore international stuff that I, and many of you, collect. But rather the more commercialized and popular branch of the genre. Like Marillion, Steve Howe, Planet X, Magna Carta, and InsideOut labels, and other similar items. For a couple of bucks each, I'll buy them all without research and ask questions later. I have very little of this kind of prog featured in the UMR, but that doesn't mean I wasn't familiar with many of the albums. From the beginning actually. Explorers Club features the Gardner brothers, who were both in Magellan, the band that launched the label. Magna Carta was essentially the next gen prog version of Shrapnel. In discussions with both label owners back in the early 90s, it was clear they saw themselves as far more professional than the average amateur labels coming out of Sweden, Italy, or France. And objectively speaking they were probably correct in their assessment. Not that I saw it that way from an enjoyment perspective, and in fact I bristled at the notion real time. By the late 90s, the "prog rock community" was so far out of my interest area, that I barely felt part of it anymore. And that remains to this day. That's not a criticism, it's the reality of where my interests were versus others who enjoyed the same type of music. I wasn't looking for a social setting to connect and make friends. Where the familiar musician names garnered all the attention so as to not be controversial. Rather I was looking to gain knowledge and expand my experiences. I was a happily married fellow with a quickly progressing career. Music friends was where I was at in my 20s, not mid 30s. Different background that is to say. So back to Magellan. That wasn't our band. "Our" being the prog running set I was going with in the early 90s (i.e. in my 20s). I'm sure my ratings are far too low for where I'd be today, but I doubt they'd also find room in the collection. In parallel to the Magna Carta prog stable we had bands like Dream Theater reshaping the future of progressive metal to great success. Which gets us here to Age of Impact. Explorers Club is not a band but rather a project, which was a common occurence back then. Almost to the point of nausea. Filled with heavy hitters including Terry Bozzio, Steve Howe, Derek Sherinian, along with parts of Dream Theater and the Gardeners. I often wonder how my musical trajectory would have happened were I to come along about 10 years later. Would have this been "my scene?" In listening to Age of Impact I'm reminded as to why I didn't gravitate toward this music real time. By the late 90s I was long past this kind of professional gloss, looking more for something that I could relate to. Rougher, more melodic, more reckless. At age 61 I have far more appreciation of what they're doing here than when I was 33. It's almost a shame there's so much great music here, just not arranged for a satisfying whole. It's splattered all over the place, which is how projects usually go versus a cohesive band effort. Just listen to some of Petrucci's solos. They are magnificent. But not in the context of the song. Back in 1998 this CD would have resulted in an obligatory keeper, though not satisfying, thus constantly questioning my decision. I once had many CDs like this in the collection, ones that I have long since purged. Today it's easy for me to move on from it, while feeling glad I heard it without bias. Maybe it's the $2 factor versus $12 or whatever it would have cost new (+ postage). I'll probably add this to a page at some point, once I gather enough music like it. (8/18)

Ozzy Osbourne - Bark at the Moon. 1983 CBS (MC). I was an early adopter to Ozzy's solo career. He came around at the perfect time, bringing along a cast of A-list musicians, while he played up his madman routine. I picked up Blizzard of Ozz and Diary of a Madman upon release and saw them live in early 1982. By the time I hit college I had tired of Ozzy's schtick and had moved onto to heavier realms like Savatage, Manilla Road, and especially Metallica. It is at this time Bark at the Moon was released. Or as we joked back then: Bawk at the Moon. In reflection, the album is a perfectly legit specimen of down-the-middle heavy metal. Osbourne secured yet another great young talent on guitar after the tragedy of Randy Rhoads. That said, the music presented here was too mundane for the era, though Osbourne continued to rise in the charts. Artistically though, decline had set in. (6/28)

Moon of Steel - Insignificant Details. 2002 Steelheart (CD). Starting to dig into these boxes of sealed metal CDs. I'll check them out online first to see if they catch my ear. Did this one? Nope. Fairly standard issue European power metal, this time from Italy. The twist here is the pretty female vocals sung in mostly pleasant English. And these band names? Seems they pick random physical objects and put them together. Has Iron Sun been taken yet? (5/27)

Marillion ~ England

Radiation (1998)

At the bottom of this post, for the Brave album, I wrote: "I suspect later albums are going to be even of lesser interest to me, but I'll buy them as I find them in the wilds and report back."

And I have done just that, finding quite a bit of Marillion in the wilds for pennies. Some are live albums, so I just jettisoned them to the sale pile. As I write this, along with Radiation, I have three other studio titles found in the last year. When I get to them, I will report here my findings, though I suspect I won't have too much to offer for fans or curiosity seekers.

Because, as I predicted on Brave, I don't think these albums are going to do very much for me. Radiation is about as far away from my interest level as can possibly be, at least sporting a prog rock lens. It's more of an indie rock album, with some 70s classic art rock sounds. Mostly mellow and a bit of a slog to get through. Never really understood how my prog rock brethren managed to land on the sound that Marillion and others were peddling during this era. I was plugged into a different lamp it seems.

Apparently the 2013 remaster brings about a much better end product. I seriously doubt I would be swayed all that much, but who knows.

Source: 2001 Sanctuary UK (CD)

10/30/25 (review)

Fugazi (1984)

Going back to 1983: It had taken me a few listens to get into, but Script for a Jester's Tear ultimately won me over. So I was quite excited to obtain Fugazi as soon as it was released to the marketplace. I had yet to hear IQ and other bands coming from the neo prog camp - or what was starting to be referred to as the New Wave of British Progressive Rock. Therefore Marillion was my gateway drug into contemporary progressive rock. As their music went, so did my interest in it.

The opener 'Assassing' is an exhilarating piece, and had me thinking real time that this was going to be an album for the ages. But it quickly dropped off from there - at least in terms of energy level. It was something of a head fake - a distinctive turn to hard rock. Which in retrospect many of the neo prog bands were quite adept at. Ultimately I didn't even hold onto Fugazi, thinking it second rate prog for newbies, falling into that 90s crowd that turned their collective noses up at such twaddle. It wasn't until 2005 that I decided a revisit was in order. OK - now I get it.

Fugazi is a progressive rock album. There's a revelation, eh? Why I didn't have the patience for it initially is rather perplexing considering all the 70s albums I'd absorbed by then. Most of them not exactly easy listening. Perhaps because Marillion were a contemporary group - and they did after all start the album off guns-a-blazing - I guess I just wanted more of that. Rather Fugazi has all the trademarks of the neo prog genre with digital instrumentation, complex yet accessible compositions, and a Gabriel-esque vocal delivery. The reality is Marillion were a foundational group of the movement versus a follower. Major label exposure and subsequent sales totals only pushed the new genre into the limelight for the masses. It wasn't to last but the middle 80s held much promise, thanks to the efforts of Fish & Co.

For 2023, it brings in the whole 80s nostalgic pull. Of course I conveniently filter what I want from it, and I'm completely dishonest with myself on what the 80s reality truly was for me. Nothing beats rose colored glasses. You oughta buy a pair of 'em. +1 listen.

Ownership: 1984 EMI UK (LP). Gatefold. 

1984 (first acquired); 12//05; 4/23/23 (review)

Misplaced Childhood (1985)

I bought this new on LP (US version) when it first came out, as I was still quite the fan of Marillion. Real time, Script for a Jester's Tear had won me over on repeated attempts, and Fugazi on a lesser scale, so Misplaced Childhood was under evaluation from the beginning. I liked it - just enough. But ultimately it found itself on the sale pile with so many records of its ilk back in the 90s. Now for the last three years, I figured this might be an easy find on LP to try again, but no such luck. I have found it, but the dealers wanted too much, and I wasn't certain I would enjoy it, so I passed. When this CD showed up a thrift shop, I had to pull the trigger. And I'm happy to say that - perhaps no surprise - I'm getting more out of this now. Of course it's Neo Prog 101, and is just as much AOR music as it is Genesis-like prog. Whereas the latter was all I wanted back then - and certainly wouldn't complain today if it really was that way - my tolerance levels for 80s arena rock has gone up substantially. There's the combo of well written tunes and time-of-life remembrance. This is a CD that will likely be replaced with an LP, as that's where the nostalgia lies. And the UK originals are a gatefold versus the single sleeve American version. I think I'll splurge for that. We'll see (and that day arrived, locally at a record store no less, some five months later.)

Ownership: 1985 EMI UK (LP). Gatefold. 

1985 (first acquired); 3/26/22 (review)

Brave (1994)

In a parallel universe, I could see myself having stuck with Marillion and been a loyal fan to this day. In the life I chose, I remained loyal to IQ instead. There were a lot of parallels between the two bands from their beginning neo prog roots to their ultimate embracing of pop rock. Of course Marillion were far more popular with the general public, so it was much harder for them to retrace their steps. Steps that IQ proudly went back on and never lost their way again. Because I ultimately dropped Marillion at the time after Misplaced Childhood, I never heard another one of their albums, only adding Clutching at Straws many years after the fact. And with Marillion what that basically means is that I have no foundation whatsoever with the "Hogarth era". Even Fish will tell you that Hogarth has done an extraordinary job with the band, and it made no sense for him to return. To be honest, this album was much better than I thought it was going to be. It's not really my kind of progressive rock, definitely forged into the 90s model of mixing in commercial sounding pop and alt rock. But there was far more 80s neo prog in here than I thought there would be. Especially in the former half of the album. I almost kept it anyway. But I have no nostalgia here as I do for other bands of the era. And that's what would have been needed for me to continue on. I suspect later albums are going to be even of lesser interest to me, but I'll buy them as I find them in the wilds and report back.

Source: 1994 IRS (CD)

3/30/22 (review)

Other Marillion albums I own and need to review: Market Square Heroes (EP); Script for a Jester's Tear; Clutching at Straws; Afraid of Sunlight; This Strange Engine; Sounds That Can't Be Made.

3/26/22 (new entry)

Dark Angel ~ USA ~ Los Angeles, California

Time Does Not Heal (1991)

Dark Angel were one of many metal bands I missed real time. Not sure why I didn't pick this album up at least, given that this was the one branch of metal I was still buying back then. That of technical thrash. About 15 years later, I picked up this used CD (very used it turns out, and can't even remember why I bothered to get it). My initial reaction wasn't positive, where I wrote the following notes: "An exhausting and messy thrash album with a bazillion riffs." Another decade after that, the album clicked with me in a big way. And here we are again, yet another decade on. I cannot even imagine how the vocalist could remember all the lyrics on Time Does Not Heal, they are so numerous. Genius level I would submit, though the trade off is he doesn't really sing, but rather recites in a monotonous way. He sings just as much as both guitarists fly through riff after riff. The album is famous for just that as it proclaimed rather boldly there are 246 riffs here. Is that some kind of record? Maybe, I have no idea. My initial cynical reaction was "246 riffs, and not one melody." That's true actually, which doesn't take away from my enjoyment here. It's also not very progressive really, more of a constant change of the riff, not the music or meters. Technical thrash is such a pleasure to hear when in the right mood. Especially if the production and guitar crunch is excellent, as it is here. You'd think something like Time Does Not Heal would be difficult to endure for 67 minutes. But it's not really - it flows rather nicely. And it never - I mean never - stops moving all over the place. I do think, though, taking one or two songs in a session will produce better results. These guys were insanely talented. Especially drummer Gene Hogland, who is considered an A-lister, and has participated with many collectives, just as in the jazz world. Interesting to note, despite the huge cult following the band has, this album is not considered one of their good ones even by their dedicated fans. And this was to be it for Dark Angel, until interestingly enough, last month (who knew?). Their new album has been met with serious derision. The opposite of another 80s / early 90s legend that recently reformed and I will be talking about (excitedly I hope) within the next month.

Ownership: 1991 Combat (CD). The microscopic lyrics take four pages of the foldout booklet.

5//05 (acquired); 5/22/16; 10/27/25 (review)

At one point I owned the two albums that preceded Time Does Not Heal. These are different in style and I didn't care for them. But I'm up for a revisit if and when I find them again.

10/27/25 (new entry)

Crosswind ~ Japan

Crosswind (1978)

Starting with an obvious funk groove, Crosswind quickly shifts into a kinetic fiery fusion with the guitar way out front. He plays in a highly melodic fashion, making these songs much better because of it. Space Circus at the time of Fantastic Arrival is a probably a good place to put your mind before setting this on the turntable. Return to Forever and Santana would appear to be references for the talented band. I'm sure Billy Cobham as well given their moniker. Keyboards are provided by a female, an unusual twist to the usual all-male groups of the genre. She brings more of an atmospheric approach rather than the chops heavy style of the guitarist. Considering the melodic approach to jazz rock, Crosswind could be considered a precursor to Kenso, minus the flute. A splendid album, and a must for fans of Japanese jazz fusion.

Ownership: 1978 Elbon (LP). With insert in Japanese.

3/14/16; 5/26/17 (acquired); 10/27/25 (review)

Crosswind would release three more studio albums and two archival live albums. I have not heard any of them, but wouldn't pass up an opportunity to do so.

10/27/25 (new entry)

Kansas ~ USA ~ Topeka, Kansas

Masque (1975)

Of all the Kansas albums from the 70s, Masque is the album I'm the least familiar with by some measure. And that includes Monolith. In fact it doesn't appear I owned a physical copy of this until 2002, also the odd album out. One of those "slipped through the cracks" deals. It's obvious from the opening two songs that Kansas is dialing back the complexity of Song For America. They're clearly in hard rock territory, trying to figure out where they belonged in the American rock landscape. Hard rock was far more popular over here than prog, at least for local bands. They had yet to have a hit song to their credit, despite intense pressure to create one, and that wouldn't occur here either. It would be their next opus that assured Kansas their place in rock history. I think it's telling that the hype sticker on my CD states: "Long out-of-print gem from one of America's great rock bands". Note which four letter word is missing. Nonetheless it didn't stop the band from adding in some proggy long tracks, namely 'Icarus', 'Mysteries and Mayhem', 'All the World', and 'The Pinnacle'. While not reaching the heights of Song For America or Leftoverture, Masque certainly is a credible and enjoyable album, not demonstrating a slump or a major deviation of their sound.

Ownership: 2001 Epic Legacy (CD). Contains a history, photos, and two bonus tracks.

2002 (acquired); 5/3/16; 10/27/25 (review)

Song for America (1975)

When I first got into music via FM radio in 1977, Kansas was not a favorite of mine. Time and place plays a major role in one's development, and this includes music appreciation. Point of Know Return was extremely popular upon release, and the title track and 'Dust in the Wind' were played incessantly. Neither swayed me much back then. I wasn't annoyed, but it was tiresome. I did like 'Carry on Wayward Son' from their previous Leftoverture album, but that was a whole year old! lol. Progressive rock was still a few years away for me and their brand of AOR wasn't that appealing either. A high school buddy, he himself a musician, was a huge Kansas fan. I credit him for encouraging me to hear them differently, especially their early albums. And by late high school I was already immersing into progressive rock anyway. It wasn't until college that I eventually picked up their albums through, ironically, Point Of Know Return. And to this day, those albums they released while I was actually in high school (1979-1983) had no impact on me. That is to say at the point I was introduced to the band is also where they declined. Not really an uncommon story when you consider that I got going in the late 70s just at that point where bands were moving (forcefully or willingly) to more commercial waters. It really wasn't until the 2000s that my appreciation for Kansas began to accelerate. Today I consider them something as magical, a group who represented what American progressive rock could have been. They were about the only one that transcended to the major labels and had blockbuster radio hits. And many of us know by now just how many great bands there were in this country, but most didn't even get a chance to record, and those that did were released in tiny numbers. This blog is full of those albums and archival releases.

Today, the album I'm reviewing here, along with the aforementioned Point Of Know Return and Leftoverture, is considered their best album. That was not the case in 1977, no way and no how. Perhaps the latter two, but Song for America? It was as relevant as Foxtrot was to And Then There Were Three. Like I said: Time and Place. 

Song For America is arguably their most progressive album, at least as we define the term today. Like everyone else in the States, Kansas took as a blueprint all the major UK prog bands, and then added those regional qualities that makes the subgenre so exciting to explore all these years later. Ten minute title tracks and the 12 minute 'Incomudro - Hymn to the Atman' was just not something many American bands had a chance to record. For Columbia no less. And there's really no duff tracks to hedge their bet either. Kansas were all in for prog rock, and their legacy will only continue to grow because of it. The younger generations, who do not have the baggage of the era, can listen more objectively and hear Song for America as it was intended. It's also worth mentioning that Kansas could also be considered a hard rock band, and had they trimmed the complexity level, they would have been top of class in the Midwestern hard rock sweepstakes. And local competition was even more fierce in that field back then.

Interesting to see the photos of the band. Their look was "of the era". Had they tried to break in during the 80s, they never would have gotten in the club door, much less recording time at a major studio. Three of the guys are decidedly overweight, Livgren looks like a sad old dog, with only Walsh and Ehart appearing telegenic (maybe). Metallica, Nirvana, and the rest of them were able to erase that stain for the 90s and beyond, but it's unfortunate that the 80s were so superficial in that way. How many great bands never got anywhere because of their appearance? Of course you could say that about a lot of things outside of music too. 

The CD adds a single edit of the title cut plus a live rendition of 'Down the Road', neither offering up any revelations.

Ownership:
1975 Kirshner (LP)
2014 Friday (LP). Gatefold.

2004 Epic Legacy (CD). Booklet with history, photos, and two bonus tracks.

1985 (first acquired); 8/11/12; 9/22/25 (review)

Drastic Measures (1983)

I'll be spinning up a Kansas page eventually (done) but I don't want to start here. As the years have passed by, my admiration for Kansas has gone considerably up to the point where they've become one of my favorite bands. Their story is remarkable and what they were able to accomplish in a very hostile American commercial market is nothing short of incredible. Something I would not have understood when they were still relevant in the late 70s. But even they couldn't stop the tide that was to be the 80s. Generally considered their worst album, Drastic Measures sees Kansas try very hard to be in the same league as Journey, Boston, and REO Speedwagon. But it's just not for them. The group is only two thirds of the classic lineup, and even they were close to splitting up. The ride was over. Objectively speaking, Drastic Measures is no better or worse than many of the bands operating in the same tight space that was the 1983 AOR landscape. Interesting to note that this album was released in July of 1983. One month later was Metallica's Kill 'em All. The music world was a changin' fast.

Source: 1983 CBS Associated (LP)

5/7/25 (review)

Other albums I own and need to review: Kansas (1974); Leftoverture; Point of Know Return; Power; In the Spirit of Things; Freaks of Nature; Always Never the Same; Somewhere to Elsewhere; The Prelude Implicit; Early Recordings From Kansas (Proto-Kaw)

Other albums once owned: Monolith; Audio-Visions; Vinyl Confessions

9/22/25 (new entry)

2025 Prog Journal Vol. 1

Transatlantic - SMPTe. 2000 InsideOut (CD). Transatlantic were one of those prog supergroups that were quite popular in the late 90s and throughout the 2000 decade. This was their debut and they still get together on occasion and release new material.  I never bothered with any of these acts real time, so the thrift shop is coming in real handy to see what I missed. This collective brings key players from Dream Theater, Marillion, Spock's Beard, and The Flower Kings / Kaipa. So the band moniker is accurate. Not surprisingly the album opens up with a six part, 31 minute opus. They were absolutely going for prog street cred here. Opening impressions is that one hears retro prog, especially classic Yes, mixed in with the modern variation of said sound. Spock's Beard and The Flower Kings do seem to be the leading lights if looking for quick comparisons. Instrumentally the music is fantastic. Some of the vocals sections drag, especially when in chorus mode. The latter being the Neil Morse annoyance contribution. It would be easy to be cynical about such a release, especially coming from a hardcore underground perspective. But that's not fair at all, as these guys put together a very fine, professional release. One that clearly was carefully composed, rehearsed, and recorded. That doesn't mean this album is for me, however. There's something very contrived about it, and lacks that emotional and creative spark we get from the amateurs. But for those who are into "names", you really can't go wrong here. (10/23)

Family - Anyway. 1971 United Artists (LP). The story goes that Family weren't satisfied with their last studio album - failing to capture the band at their finest (a familiar argument). So for Anyway they split the album as half live and half studio even though it's all new material. The live side isn't recorded very well so that doesn't help. The other issue here is the tracks sort of fly by without notice. There's really not much that stands out - whether it's a memorable tune or a mind bending instrumental passage. I'm sticking Anyway in the prog section as I'm not really sure where else to put them. Maybe classic rock would have been better, though that's not their reputation. On the plus side, this album did reignite my interest in the band. I do have a couple of their albums already on CD, and now I picked up one of their recognized classics on LP. A feature may be coming soon (nope) (6/16).

Mother Black Cap - The English Way. 2009 Cyclops (Bandcamp). To be honest I didn't get too much out of this release. Mostly I heard broad stroke Pink Floyd styled art rock. Post Animals style. Which isn't really my brand of progressive rock. For their part the band points their references to the melodic 70s classics such as Camel and Focus. And they like the "twiddly prog bits". All of which I heard very little of. The primary exception being track 4. Up for hearing more from this lot, and they're still active. This wasn't my album though. (4/20)

*Steve Hackett - Clocks. 1979 Charisma (EP). The title track, coming from Spectral Mornings, is a super version featuring Novatron. You'll recognize many of the Genesis themes on 'Acoustic Set' utilizing only acoustic guitar and flute, and which seemingly has as much applause as music. 'Tigermoth' also comes from Spectral Mornings and is another fantastic rendition with heavy Moog, flute, and electric guitar. The last hurrah for Genesis and prog music. Have to keep this. Oh great - EP's as large as LPs and looking to downsize. (2/2)

Discus - ...Tot Licht! 2003 Gohan (CD). Collection revisit. Have you ever wondered what it would be like if you combined prog metal, avant prog, and 80s Japanese symphonic prog with female vocals? Yea, I hadn't really given that one much thought either. But if I did, Discus' second album would be the answer. Discus demonstrates a complete lack of focus and decides to give you as much progressive rock ideas as they can come up with on the fly. Genre hopping within the prog world was somewhat popular in the 2000s, and Indonesia's Discus were one of the leading lights, obscure as they may have been (though they did play live in North Carolina). Interesting that they also appear to be very religious, both Christian and Muslim together. In any case, a fascinating listen, but I don't feel albums like this. A familiar theme: Appreciation doesn't always translate to excitement. This version has a six minute bonus track. (1/6)

* - keeping for the collection

2025 Psychedelic / Garage Journal Vol. 1

Quicksilver Messenger Service - What About Me. 1974 Capitol (LP) (1970). Of all the bands from the Bay Area Summer of Love, Quicksilver Messenger Service certainly embraced the culture of San Francisco the most. The cover is awesome depicting Haight Ashbury on a ship against the commercial skyline. The back is no less awesome with all the elements that make San Francisco such a great city (good news - it's coming back to excellence now that they have a mayor who cares about the city not just themselves). But it's 1970, and as I've said countless times, the bands coming out of psychedelia didn't know what to do. Country? Folk? Hard rock? Soft rock? Prog? Jazz? Keep going with Psych rock? All of the above, with no focus or great songs. If they had just extended the instrumental sections, then that would have been more preferable. So each and every one of them sunk to the bottom of the ocean while the English bands took over FM radio. What About Me starts off promisingly enough with some flute, and it seems they may be up to some challenging material. If only. Much of this owes more to a drunken saloon rather than a classic rock club setting. One wonders what they were thinking while making this album. No hooks, no edges, and no composition acumen. Apparently it was recorded haphazardly in Hawaii with no discipline whatsoever. It sounds like it. The album sold well despite the lack of anything to listen to. Like with Iron Butterfly, they let their brand name tarnish long before necessary. (9/6)

*Spooky Tooth - It's All About. 1970 Island (LP) (1968). Spooky Tooth is another one of those bands that I've known about for most of my record collecting life but never actually heard. Found a nice pink Island copy up in Denver. It wasn't cheap but it was a really good deal, and it's hard to pass on these early UK pressings. I would describe the music as a type of psychedelic soul. From the latter comes the passionate crooning. From the former is the period sounds and instrumentation. Nothing really blew me away here, but I found it a pleasant listen throughout. Also I came to learn that one of the album's best tracks 'Too Much of Nothing' is only on these early pressings. It was swapped out with something apparently lame on the subsequent A&M releases. I've been told their second album is much better. I have it on cassette of all things, so I'll get to it eventually unless I find the LP first. At that point I might build out a page for them. (4/29)

*Howlin' Wolf - Message to the Young. 1977 Chess (LP) (1971). Here's an interesting album that I had no idea about. Chicago Blues legend Howlin' Wolf putting out a psychedelic album. It's for certain still his patented blues style, but no doubt he had Jimi Hendrix on the brain when he amped up. Not a lot of the old timers took these kind of chances, or had any desire to give credence to the young 'uns. Unique and I'm keeping it for now. Howlin' Wolf is not the type of artist I'd build an artist page for, as I'm not a huge blues fan. But if I found his early shellacs, I'd keep them anyway. I just found an old Muddy Waters shellac (1950 Aristocrat beautiful condition too) and decided to keep it. I don't have a way to play them, but I love the history. (4/9)

Grateful Dead - Without a Net. 1990 Arista (2xCD). This a placeholder as I intend to build out a Grateful Dead page eventually. I own two CDs and a raft full of archival material. All I've commented on so far is what I don't like haha. This title isn't so bad really. I know relatively nothing about the Grateful Dead compared to Deadheads, so you have to take my viewpoint as an outsider looking in. Apparently this was their last great tour and was captured on CD as a best-of compilation. It wouldn't be long after that the band released just about everything they recorded in 30 years, making these comps unnecessary except for casual fans looking for the Cliff Notes version. RYM currently shows 260 live releases. There are some nice jams here interspersed with their usual countryish blues and folk mix. Jug Band music. Obviously everything the group records would have been better experienced live and in person. (2/19)

*-Keeping for the collection

2025 Funk / Soul Journal Vol. 1

Willie Hutch - The Mack. 1982 Motown (LP) (1973). Famous blaxploitation flick, that is considered one of the best in the genre (I haven't seen it). The music follows course, as it's mostly heavy soul funk in the Isaac Hayes / Curtis Mayfield tradition. The sound is awesome, with funky wah wah guitar, tight horn charts, bright production, and some crooning from Hutch. Back when ghetto life was depicted as charming and almost laughable. Having lived through it myself in the late 70s and early 80s - being school bussed to the Projects, not to mention working in the industrial districts of the ghetto - I can tell you it was anything but charming. I only wish I'd appreciated the music I was subjugated to at the time. I do now at least. Which gets us back to The Mack's soundtrack. Good title, but not exceptional like Shaft or Superfly. Going to let it sell, which it should do quickly. (9/4)

Strictly Taboo - Playing with Fire. 1991 private (MC). One of many obscure cassettes I've picked up in the last few years. This came from a thrift shop in Albuquerque, which is where Strictly Taboo are from. Side 1 is mostly blues rock with light funk and smooth jazz touches. Female vocals are provided by Hillary Smith and she has a great voice. The guitarist is Steven Katz who seems to be the leader. He has a nice tone and recalls Stevie Ray Vaughan in his style. Rick Allen's sax is where the smooth jazz comes in. Side 2 is mellower with more of a jazz and sophisti-pop influence, and one can hear some Sade here given Smith's vocal approach. No documentation of this existing on tape as I write this, though the CD can be found in Discogs (sold out). I found the album online, and both Katz and Smith have pages out there. RYM: 3.0 (7/29)

The Foundations - Build Me Up Buttercup. 1968 Uni (LP). Found this curiosity at an estate sale recently. I was unfamiliar with the band, so why not try it? The Foundations were a UK group, and on Build Me Up Buttercup, they essentially play a type of soul rock. Not really psych, and certainly not funk. A little bit like The 5th Dimension but lacking in memorable hooks. Organ is the primary instrument with a smattering of horns. The songs become increasingly annoying, perhaps because I wanted them to develop in some form or fashion. But they never do and eventually the rating begins to slip. (7/18)

*Fela Kuti - Beasts of No Nation. 1989 Shanachie (MC). Now here's an artist I'd long forgotten about. Finding this tape at a thrift shop was also quite the surprise. And adding even further to the confusion (to use a Kuti title) is the album was released on Shanachie here in the States. A label I associate with Irish folk music like Planxty and The Chieftains. And well, one more crazy part of the puzzle: There are two different distinct releases of Beasts of No Nation. This one has two tracks. The other has the title track spread across both sides, one vocal, the other instrumental. It is the latter that was reissued by Knitting Factory to modern audiences. Back to Fela Kuti. I bought one of his 2-on-1 CDs at the height of his posthumous fame in the late 90s / early 2000s. While I enjoyed it, I did decide to move it out. And I was reminded why on Beasts of No Nation. As the cover suggests, Kuti was a radical political figure, already having been jailed by this time. And he was not to be silenced. The tracks set a deep funk groove (Afrobeat) with plenty of excellent tight horn charts. And then Kuti goes on his rant. Whether everything he sings is the gospel truth or the psychotic ramblings of a lunatic, one has to endure the duration as he goes on about it forever and a day. Still, those grooves. And to find this at a thrift shop. Way too cool. (6/26).

Sun - Sun-Power. 1977 Capitol (LP). When the album opened with rhythm guitar and tight horn charts, I thought I may have found my new favorite group. Especially given we have a full ten piece band here. But it quicky devolved into the typical funky soul disco of the day. Nothing really resonated with me. Sun-Power is the sophomore release from Dayton, Ohio based Sun. I was previously unfamiliar with them, but they had a nice seven album run on Capitol, no small feat. Later they added one more on the fledgling local Air City Records that also featured another Dayton area has-been: the Ohio Players. I'm up for hearing any and all, and will keep my eyes peeled, especially since many carry some value. (5/25)

Harvey Mason - Marching in the Street. 1975 Arista (LP). Mason is bumping against the perimeter of the type of music I really enjoy and keep. But the funk is too slick and friendly. I prefer a more raw sound. Mason's solo debut is better than Funk in a Mason Jar, but falls a few feet short of making the next round. (5/12)

Harvey Mason - Funk in a Mason Jar. 1977 Arista (LP). Clever title though a bit inaccurate. Light on funk and heavier on disco and smooth soul. It's not until A3 that my ears perk up. Guitarist Ray Parker brings out his inner Ernie Isley and Eddie Hazel. The album is filled with guests and this would be his sole cameo. Side 2 is better. The first two tracks have a nice smooth groove and B3 sounds more like the complex fusion of Return to Forever. Nice album but not an uncommon sound for 1977. (5/10)

Lifestyle - Katrina / Love Can Make You Cry. 1977 MCA (SP). Recently found two of these at a local thrift shop. 'Katrina' is a nice disco song with a sweet melody. The B) side is whiny soul and far away from my boundary. Got to let them both go. (2/15)

The Red Hot Chili Peppers - Freaky Styley. 1985 EMI Manhattan (MC). In the late 80s, when first hearing The Red Hot Chili Peppers, I thought they might be a band I could get into. It's still possible I might, but this is an earlier work and not considered a good one by fans of the band. It's as much rap as it is funk rock. But even the latter is lacking the groove and gravitas to pull it off. Sounds like a bunch of white junkies to me. (1/30)

* - Keeping for the collection

2025 Fusion / Jazz Journal Vol. 2

*Frank Zappa - Waka / Jawaka. 1995 Rykodisc (CD) (1972). I've debated putting up a page for Frank Zappa, but I don't think I can do the guy any justice. Everything I have to say about him, I've already documented in another journal entry for the Grand Wazoo album. As his albums roll in here, I think I'll just put them in the journals. Maybe if I compile enough of them, and have something unique to offer, I'll consolidate. In any case, Waka / Jawaka represents one of my favorite albums from Zappa. His first truly jazz rock album, 'Big Swifty' starts the opus off with a bang and never lets up. Though Zappa always had the chops of a jazz player, it's here that the music reflects this the most. It plays more like a Miles Davis album from the same era. My pick is the title track, as Zappa also had a knack for writing wonderful melodies. Of course, this being Zappa, he had to throw in a couple of goofball tracks to prove (endlessly it appears) that he was not a serious fellow all the time. Yea, we got that Frank. Would have been nice for him to show up like a professional jazz rock musician for 40 minutes just once. Oh well. I'll take the 29 and toss the 7. Strangely I have yet to find this on vinyl. When I do, I'll swap out this rather mundane CD reissue that I've owned for many years. (10/20)

*John Coltrane - A Love Supreme. 1996 Impulse (CD) (1965). About every ten years I pull this CD out of my collection for a revisit. I first picked it up at a used shop in Springfield, Illinois while there on business in early 2000. It was a transformational time for me from a career standpoint, and this album came at the perfect time in my life. From the opening notes you know it's a special album. The atmosphere is exhilarating. I'm not sure I'll be creating an artist page for Coltrane because I sense many of his works will be beyond my reach. And even this album goes beyond where I want to be, especially what would be side 2 on the LP. But A1 and A2 is just about perfect. Despite hours of digging, I have yet to luck out finding any Coltrane on LP beyond Ballads, which bizarrely I also found on reel to reel, and is the version I kept. Oh, and that collaboration with Don Cherry that I reported on a couple of years ago (and sold). If I do find A Love Supreme on vinyl, it will be my keeper forever copy, but this tri-fold digipak CD is lovely with a fine short history too. (10/6)

*Lonnie Liston Smith - A Song for the Children. 1979 Columbia (LP). I know nothing about Lonnie Liston Smith's solo works, which appears to be my misfortune. Smith's background contains a brilliant resume of sitting in with many jazz A-listers throughout the 60s and early 70s before striking out on his own. And if RYM is accurate, this album seems to be the only one to avoid. Just my luck. But for 69 cents, I can't go wrong. After desecrating my stereo with TKO's Let It Roll, doesn't this sound sweet? I can guess why this album gets the cold shoulder. Disco. At least the first track (and last song as it turns out). Sounds fine to me. This is followed by a softer new age styled jazz. And then onto a jazz funk number. B3 features some beautiful electric guitar, almost Santana-ish. In reading about his more revered albums, Song For the Children seems to be of a similar style throughout minus the opener and closer. Probably more ear friendly and less edgy. Great keys from Smith augmented by a fine cast. If this is his worst then I'm in for some good music going forward. I'll hang onto this one for now and do a compare and contrast when I get to his other albums (hopefully that is). (9/4)

Mark Isham - Castalia. 1988 Virgin (LP). A former friend of mine was a huge fan of Mark Isham during this era, but I never derived much from his albums. Maybe now I'll have a different perspective. Nope. Isham exists in the slightly jazz, new age space. Very peaceful late night sounds, with Isham providing muted trumpet. The bass tones are warm and elongated, and the keyboards are plastic. David Torn is here on guitar but you would never know it. Fine album in the genre, but ultimately too sleepy for me. (6/20)

*Matrix - Harvest. 1981 Pablo (LP). As I stated on The 45 Revolution about their last recording from 1982, a very obscure SP: "From Appleton, Matrix had a relatively successful career, obtaining major label releases on both RCA and Warner Bros. I've heard a couple of them, but don't recall the contents and didn't keep either around." Harvest would prove to be their last LP, released under the radar on the jazz imprint Pablo. The music here is one that I've gravitated to of late, that of big band jazz rock. Similar to Buddy Rich and Maynard Ferguson. More towards the former as there aren't any one solo protagonist. The music displayed is complex yet easy on the ears. Anachronistic for 1981, though some of the tones were contemporary. Unique enough album to hold onto I think, and I'll put the 45 in there as well. (6/9)

Jan Garbarek Group - It's OK to Listen to the Gray Voice. 1985 ECM Germany (LP). A few seconds in and I instantly recognized the shimmering tones of David Torn's guitar. While that was a pleasant surprise the album remains in Music Noir mode for its entire length. More ECM Style Jazz targeted to the adults in the room. It's all well and good, but way too sleepy for me. I'd rather hear the legends from the 50s and 60s doing this kind of smoky jazz. (5/20)

Mark Colby - Serpentine Fire. 1978 Tappan Zee / Columbia (LP). Mark Colby's debut comes from a time when it seems every jazz musician, balding or not, got their 40 minutes of fame. This is the Bob James / Jay Chattaway show, bringing together all the same guys you'd here on a Maynard Ferguson album and many others. And the music is similar. To be clear, the music is very pleasant to the ear. In fact this troupe seems to be competing against the CTI guys for who can be the smoothest. Yet this isn't smooth jazz as we know the term via the Kenny G lens. With a name like Serpentine Fire, one might expect an intense fusion. But it's nothing of the sort. I think some more edge would have secured its place in the collection. (5/16)

*David Diggs - Elusion. 1978 Blue Jay (LP). Found this at a thrift shop recently and it looked intriguing. Once I saw it had value on Discogs, I added it to the stack. In hearing it for the first time, the appeal is immediate. Heavy instrumental jazz funk is the music with emphasis on biting electric guitar, electric piano, Moog synthesizer, and creative rhythms. Trumpet, sax, and flute round out the sound. Excellent production too. So who is this guy? He has a lot of solo albums and he's also part of a group called Good News. Contemporary Christian Music that would be. And some of his other works are described as Smooth Jazz. Christian Smooth Jazz is not a magnet for the buyer. But you would never know any of this after seeing and hearing Elusion. It's not message based, and the music is just as good as Donald Byrd in a similar phase. One to look for when you see a Heyseus Creesto drop at the thrift shop. (5/1)

Fuse One - Silk. 1981 CTI (LP). As soon as I saw this at a record store in their buck bin, I knew it was something I'm taking home to check out. It features an all-star cast of jazz fusion luminaries, and there are only four long tracks. Complete with an old fashioned bullet-proof gatefold cover, which had long gone the way of the dodo by 1981. The music didn't disappoint, that of a very smooth funky fusion. Silky as the title suggests. Like an updated mid 70s typical CTI release. Unfortunately it wasn't very distinctive either. This kind of music had been played out already, and this almost seems like a cash-in job for a bunch of jazzers needing some extra revenue. I admire the effort, but it's one too many for my collection at least. (4/21)

*-Keeping for the collection

2025 Hard Rock Journal Vol. 2

Jerusalem - Dancing on the Head of the Serpent. 1988 Refuge (LP) (1987). Continuing on with the Christian hard rock albums I've found recently. Sweden's Jerusalem was on their 5th album with this super great title, and even better cover art. Based on both, I thought I was in for a heavy duty metal album. Unfortunately the music sticks to standard issue 80s hard rock. The album starts like fellow countrymen Europe on The Final Countdown with brash synthesizers, and the hard rocking guitars are of a similar pitch. Nothing too heavy and very family friendly. The lyrics are once again hardcore Christian with no middle ground. There's some decent guitar work, but overall this sounds like a very average 80s hard rock album. (9/11)

Joe Satriani - Not of This Earth. 1986 Relativity (LP). I don't have much history with Satriani, having only heard his 1988 EP and 1995 self-titled album, and both of those are recent listens. His next album, Surfing With the Alien, was his big breakthrough, and I do remember it getting quite a bit of radio airplay for an instrumental rock work. But I have yet to hear the album (the CD is here patiently awaiting its turn - though perhaps an LP will arrive ahead of that moment). When I bought this album as part of a larger collection at the flea market, I just presumed it to be another Joe Satriani album. I had no idea it was his debut. Well, that captured my attention more than usual. Satriani is certainly working hard here, mixing in various styles, while showing off his considerable chops. The rhythm section, however, is mailing it in. Whether that was by design so as to not get in the way of Satriani's guitar, or just the sound of the times when rhythms were more static, it remains a bad decision. I like the tone he achieves on B2, something I would have liked to have heard more. Certainly this is a respectable debut by an artist that today is legend, but few knew who he was back then. I'm going to move it out, but glad to have heard it on a focused listen. (9/4)

TKO - Let It Roll. 1979 Infinity (LP). TKO were a band from Seattle who managed to eke out three albums back in the day before showing up at various live festivals in more modern times. Bonehead hard edged AOR rock is the order of the day, much different than the metal band they were to become (no idea if they're any good). It seems the band has talent, but they decided not to use it. All the songs are generic begging-to-be-played-on-the-radio tracks that lack any kind of creativity. Throw nine pieces of wet mud against the wall hoping something would stick. They got slop instead. Weak entry. (9/4)

*The Daniel Band - On Rock. 1982 Lamb & Lion (LP). I recently brought in a pile of Christian hard rock and metal LPs from two different thrift shop buys, all in beautiful shape. Some of them sounded pretty good on a sample, so I'll start here (actually I started with Barnabas about a month ago, but didn't pen any notes). The Daniel Band are from Toronto, and their sound here is heavy duty hard rock with a touch of pomp prog. There's nothing 80s about it. They remind me of mid to late 70s Triumph quite a bit, including the vocalist. They even look the part with long hair, beards, and bigotes. The guitar soloing is very good here, recalling many a Midwest private press. The keyboards add that late 70s AOR touch that I'm fond of. Lyrically this is a strong Christian message album, so if you can't handle that, you'll need to steer clear. They're all in with no breaks. I think church would have been packed with youths on Sundays with music like this back in the day. But noooo, we got the pipe organ, choirs, and "we're not worthy" styled hymns. Lutherans, a stoic lot they are ("Dad, can we please go home now, the Cowboys are on at noon"). The Daniel Band are way more fun. I kept one of the Barnabas albums, and I'll keep this as a good representative of Christian hard rock. (9/4)

R.I.F.F.S. - Rockin' in Free Flying Spirit. 1998 private (CD). Based on the title and booklet I presumed I might be in for a Christian metal album. The first track delivered on that premise recalling Warlock and Doro Pesch. Vocalist Marisa Austen has a powerful and beautiful voice. But they toned down considerably on the second song. By the 3rd track it seems that RIFFS are a hard rock band with AOR sensibilities. FFAOR in hipster parlance. Plenty of keyboards too. It's a diverse album and the last track even has a couple of references to progressive rock. The band were from Denver, and that's where I found this obscure CD languishing in a thrift shop. (7/29)

Y & T - Open Fire. 1985 A&M (LP). Y and T on A and M. Sounds like a first grade classroom. And musically that's a good metaphor too. I remember when Y & T originally burst onto the radio scene with Earthshaker, which was their 3rd album and the first to drop their original moniker of Yesterday and Today. I seem to recall it being quite good but not enough to pluck down $7 of my hard earned high school dollars. I recently scooped up Open Fire at an estate sale, and since I have no familiarity at all with their songs, this will be one live album I'll check out beginning to end. Like with The Firm below, the album appears to appeal to the most basic of the hard rock audience. A perennial opening act who had way more talent to display but chose the easy party route instead. (7/20)

The Firm - Means Business. 1986 Atlantic (LP). I could have sworn I'd heard the first album and not this title. But according to my journal, it was six years ago that I last had this album in my possession. It's easy to see why I forgot about it. The Firm is Jimmy Page teaming up with Paul Rodgers and sounding mysteriously like... Bad Company. About as ordinary of a hard rock album as they come, if you could even call it "hard". Seems every band in the 80s were working hard to get MTV airplay at the expense of crafting some quality music. In other words, as the band suggests, just another day at the Office. Jimmy and Paul, label execs say we need more revenue, so go get it. (6/6)

* - Keeping for the collection

2025 X-Wave Journal Vol. 2

Assassin of Silence - Phaze Shifter. 1980 Neurological (LP). With that moniker, title, and label name, I was certain this was going to be a new favorite for the collection. A Los Angeles based quartet, Assassin of Silence defy categorization and all manner of commercialization. It's song based, with one foot in the 70s and another in the upcoming 80s. As the album progressed, I hear a distinct love for David Bowie, and all his eras up to that point. Art rock, folk rock, punk, synth music, Devo, Dark Side era Pink Floyd, you name it. I appreciate the psychedelic sound of the guitar, something I wish was more utilized throughout. Assassin of Silence are to be commended for being independent. Not sure who the target audience for this album is, but if you like any of the above artists and styles, there will be certainly something here you will enjoy. (9/25)

various artists - Dark Horse Dreams. 1988 Big Ball (LP). A well done compilation of bands from here in Colorado Springs, complete with a lyric insert. The music is mostly late era New Wave, with a smattering of alt rock. The Bo'l Weevils are here, a band I thought I wrote about before, but I guess I didn't. They usually add some hard rock guitar, and they do that here too. The most interesting track is from Rich Mouser, who provides a most interesting proggy closer (the seven minute 'Last Day at the Carnival'). He provides a more straightforward cut to open the second side as well. Overall not something I need to hold onto, but if you're into local bands, this is worth seeking out. (7/17)

*Public Image Ltd. - Second Edition. 1979 Island (2xLP). I've known about PiL ever since I started collecting underground music in the middle 80s, but they were part of a different strain than I was looking for at the time. This is John Lydon's second group, his other was the Sex Pistols (there known as Johnny Rotten), a band who existed to be anti-everything including music. The latter were infamous in my day, as they spent some time in the national news for all the wrong reasons (and probably the right reasons in their minds). In any case, Second Edition is one of those albums that looks and sounds important. A double LP (originally released in the UK as a metal tin with 3 LPs) in an era when everyone was scaling back and focusing on hit records. Sure, Fleetwood Mac and Pink Floyd might get away with it, but no one else. As for the music, it's about as groundbreaking as it gets. Technically known as Post-Punk, a difficult to describe aesthetic, though it crosses over to areas I've long been fond of, such as motorik Krautrock. It's an easy album to listen to actually, yet it's not highly melodic nor particularly engaging from an instrumentation perspective. It's the nadir sound of London at the end of the 70s. Signs that street life there wasn't all Beatles-esque hedgerows and butterflies. (5/22)

Mi-Sex - Space Race. 1980 Epic promo (LP). I picked up three of this band's albums before we started selling at the Colorado Springs Record Show. I once had a 45 of this new wave band from New Zealand and it seemed pretty good. I checked out the latter of the three albums on a quick scan (Where Do They Go?). It's about four years later, but I heard enough to take a full listen to the other two. Space Race is Mi-Sex's second album. They are a somewhat typical synth pop band from the era, but given its early date (1980), the synthesizers are more toned down and the 70s rock element becomes more prominent. Particularly this is true with the rhythm section. This isn't a title I need to keep, but I have high hopes now for their 1979 debut which I will get to soon enough. (I heard it too, but naaa). (3/18).

Dead or Alive - Mad, Bad and Dangerous to Know. 1986 Epic (MC). Last year I bought Youthquake on vinyl and decided to keep it on a nostalgia fit. Mad, Bad and Dangerous to Know (haha) is very similar in sound. High energy, good melodies, and danceable. B1 is a highlight. But Dead or Alive aren't the type of group I'm building a band page for. Instinctively I kind of know I'm only going to keep the one album, but I'll not turn down hearing any of them. (3/7)

Love and Rockets - Express. 1986 Big Time (MC). Another one of those I picked up on vinyl during the pandemic, but took my profit quickly. I wanted to hear it again before letting it loose. Very British sounding. A mix of New Wave, psych, and alt rock. Like a mix Modern English and the Beatles (a coupling I'm making often now it seems) as played by The Smiths or some such group. (2/20)

Other albums heard but not reviewed: Mi-Sex - Computer Games (3/25); OMD - Organisation (3/26); 

*-Keeping for the collection

Rainbow Serpent ~ Germany

Voyager (1996)

---Dec 2004

I reviewed Rainbow Serpent's 3rd album Mosaique awhile back and since I enjoyed that one quite a bit, I jumped at the chance to pick up three more at a great price. This is Rainbow Serpent’s second effort and pretty much like the other in the sense that it's familiar, yet very different. Seems to cover all eras of Tangerine Dream and progresses into the 90’s where they didn’t (including nods to modernism like techno). This is definitely not “The Berlin Switch” on the computer like the one man bands on Groove, but rather a well thought out ensemble effort. Nor is it retro minded like Radio Massacre International or Redshift. More forward thinking here.

---10/20/2025

As noted below, it becomes quite apparent how much I dug in for the Berlin School acts in the 2004 and 2005 time frame. The album starts off with acoustic piano and then sort of wanders into space, which considering the concept of the album, makes complete sense. Eventually the rhythms and sequencers start to roll in, and we're in familiar Tangerine Dream territory. As least if Hyperborea and Poland were the years of choice. Eventually the album moves into the 90s and becomes more beat heavy in places. This is a welcome development considering it's an accompaniment rather than a distracting feature. The album is broken into three long suites, with multiple sub-themes. The latter two offer more variance in sound.

There is something very comfortable in listening to these Berlin School albums. They bring peace and happiness to me at least. Drift off into space and let's see what doors will open this time?

Ownership: 1996 Ardema (CD). Poster booklet with recording and instrumentation details.

12//04 (acquired / review); 5/4/19; 10/20/25 (update)

Pulse (2000)

---Dec 2004

The last of the batch, and the latest album I own by Rainbow Serpent. This is a definite step up from the other three. There's a real flow here between the tracks, with sequencers going everywhere and digital choral voice providing atmosphere. Plenty of Schulze style solos as well. Many ideas are employed, a great one to just have in the background while reading, researching, writing, etc.... This is really a fantastic release and a great example of modern electronic music.

---12/26/23

For those who cannot possibly get enough of the classic Tangerine Dream sound, I would suggest you add this title to your want list. A wire must have been crossed somewhere in my mind as Pulse ended up being my lowest rated album by the duo, even though I haven't heard most of the albums by them since then. At the time of purchase I was beginning to really load up on Berlin School Electronic albums from the renaissance era (late 90s / early 00s), so I was more enthusiastic on first listen. In reflection, Pulse is very much "in the pocket" for the style. I'll go for another listen soon and see where I stand at that point.

Ownership: 2000 Manikin (CD). Booklet with instrumentation and recording details.

12//04 (acquired / review); 12/26/23 (update)
 

Futuregate (1995)

---Dec 2004

The debut album by this German group who have a unique take on the Berlin school of electronics. I’ve now heard the first three, and this one would be the most predictable of the bunch. A little tighter Tangerine Dream period here, as there isn't as much of a reach back – 1977 is about as far back as some of the sounds you’ll hear. Many early 80's references. While none of Rainbow Serpent’s albums have wowed me like Radio Massacre International or Redshift, I find these all a very pleasant listen. The next two were more varied and interesting, though I’ll score this the same for now.

---5/6/17

Rainbow Serpent were one of a handful of Berlin School revivalists from the Fatherland. They're a duo who have an arsenal of keyboards at their disposal. Mostly newer toys, not so much a vintage collection. Their blueprint for Futuregate can be found on Tangerine Dream's Tangram, and this album could represents outtakes from that session. There are worse ideas than following Tangerine Dream at the beginning of Schmoelling's career.

The cover looks like some cheap home computer printout, and one would expect this to be a CD-R. But it's a factory cut CD, and the booklet is made of the proper stock. 

Ownership: 1995 Ardema (CD). Red label.

5/6/17 (review); 2/1/19

Also own and need to review Mosaique.

According to Discogs, Rainbow Serpent released 18 albums in total until stopping in 2010.

5/6/17 (new entry)

Iron Maiden ~ England

The Final Frontier (2010)

Already back into the Iron Maiden collection, very soon after documenting No Prayer for the Dying. Random but timely selection. As noted below, I haven't documented any of the Dickinson reunion albums save their latest Senjutsu. Looking at my database, I didn't get back into Iron Maiden until 2011. So I took a 21 year hiatus from the band after No Prayer. I then proceeded to buy all of their albums (on CD) from Brave New World through their latest at the time, which is the album I'm featuring here. To be honest, I feel like I'm hearing it for the first time, as little registered on initial impact (and a second listen four years later), other than I thoroughly enjoyed it.

The Final Frontier has a very unique opening. Mostly martial and synthesizer atmospheric, very un-Iron Maiden like until about midway through the track. I enjoy the deviation, if maybe a bit too long. Track 2 reintroduces us to the Maiden we all know and love. Galloping guitars (all three of them: Murray, Smith, and Gers) with Dickinson's piercing vocals. Harris and McBrain are always busy, moving the proceedings along at a brisk pace. 

On The Final Frontier, Iron Maiden uses the first five tracks to play to their "compact" side, and the later five to indulge their proggy tendencies. As mentioned on the Senjutsu review, I love that Maiden continues to push the envelope as they age. If you want to hear Iron Maiden in their creative mode, you could program out tracks 2 through 5, and experience a full album in that style.

Other than "The Iron Maiden sound" what else can I listen for? Memorable tracks, like the ones I recall almost verbatim from the 80s. As I listen carefully, I think it's the entire second half (to pick one, I'd go for 'Starblind'). Thinking through this further, if I heard Powerslave on a quick run through, I'd have little to recommend. But we played that album so much then, we knew every note back and forth. If I did similar here with The Final Frontier, I'd probably hold it at the same level. I suspect that many dyed-in-the-wool 80s Maiden fans (like myself) would come to a similar conclusion. But we don't listen to music that way anymore. Too many choices, not enough time. I'm enjoying my extended time with albums like The Final Frontier. Going back to my roots.

Ownership: 2010 UMe (CD). Booklet with lyrics, recording details, and "Eddie" artwork.

7/25/11 (acquired); 10/2/15; 10/20/25 (review)
 

No Prayer for the Dying (1990)

By 1990 my interest in Iron Maiden had waned. As I continued to burrow into the progressive rock underground, my only interest in metal was coming from the tech thrash side. Iron Maiden was from the old NWOBHM school, which had worn thin by then. I did like that Maiden were experimenting with prog more and more, yet it wasn't enough compared to what I was discovering from the 1970s European scene. And they weren't heavy enough either to draw my attention to them from a metal perspective. Despite all of this, I did go ahead and buy the LP not long after release. It would prove to be the only original Iron Maiden I let go out of the collection. And that was probably 30 years ago (1995). I also stopped here with the band, and ultimately dug back in on their post 2000 reunion albums some 21 years later. Much of which I still need to document.

It also seemed that Iron Maiden's interest in Iron Maiden had begun to wane by 1990. Second guitarist Adrian Smith had bolted and was replaced by Janick Gers. They seemed to be out of gas, and that their spectacular run of 1980s albums were over. Today, No Prayer for the Dying is by far the lowest rated Maiden album (on RYM at least) with Bruce Dickinson (or Paul Di'Anno) as vocalist. Though absurdly Senjutsu is not too much higher. See below for my thoughts under that LP's entry. In any case, a local buddy who gives me great deals on albums, had a newer reissue on hand. It was at a retail price, but I felt I owed him a bit, so why not try it again? If I don't like it, I can resell it for the same price and make my money back. It's been 30 years (at least) since I last heard the album. Is it really that bad? Much has changed in Genius Hans' world since 1990, when I was all of 25. Let's go in with an objective, other-side-of-the-mountain viewpoint.

As side 1 rolls on, it's easy to see why I had dismissed the album from the onset. The band had purposely moved back to a "simpler composition" style, never a good sign. That's ironic in that Maiden in its current form is going in the exact opposite direction, adding more complexity as they get older. Despite being more basic, their sound was also more lightweight. It's still metal, but on the border with hard rock. Seems the band were hedging their bet, and yet it was all the wrong choices for the times. Iron Maiden were trailblazers, the leading light, and here they aren't progressive, heavy, energetic, or particularly memorable. On this latter front, it's hard to discern the differences from cut to cut. The exception being the closer 'Mother Russia', which I recall being the only track I really liked initially.

To my initial question - is it really so bad? Oh heavens no. My rating was entirely too low, based on the emotional state of the time. Somewhere along the line I went from "it's OK" to "it blows". That is certainly not the case. The group sounds on point actually, and the newly paired guitarists are playing some nice unison lines. Harris and McBrain are also in top form from a rhythmic perspective. Only Dickinson doesn't sound right, primarily because he was asked to reign in his air-raid siren voice for something more direct and raspy. Bad decision especially considering that's one of the defining characteristics of the Iron Maiden sound, post Di'Anno. In conclusion, I am now a full 1.5 stars ahead of where I stood years ago. I do think it's a good album, not a toss away effort.

Even with the apologist stance, I would still rate this as the lowest of the Iron Maiden albums I've heard. I did miss out entirely on the rest of the 1990 decade, and I know the Bayley albums aren't held in high esteem. Nonetheless I have since picked up two of the three I was missing from that time period (still haven't heard them), and I'm sure I'll find the other. See the bottom of this post for what I still need to review.

Ownership: 2017 Sanctuary (LP). Lyric inner bag.

1990 (first acquired); 1995; 9/27/25 (reacquired; review)

Somewhere in Time (1986)

As noted often here, I was a big fan of Iron Maiden real time, so all of their albums from the 80s have a special place in my heart. I bought this LP when it came out in my senior year of college, and I saw them live in January of '87 in Lubbock. I found the ticket stub the other day. Considering that Powerslave was burned deep into my DNA, any album coming after that would be tough to absorb. But Somewhere in Time is a great follow up. RYM has it as their 4th highest rated behind their two recognized masterpieces: Powerslave and Number of the Beast. Seventh Son gets the 3rd spot, but I would beg to differ. I'd probably place the debut and Piece of Mind higher myself, but we're splitting hairs at this point. Generally I read that Somewhere in Time is where they embraced synthesizers. I suppose so... but Iron Maiden were always proggers at heart, something I find myself repeating often in these pages. Somewhere in Time is the first Maiden album that I didn't listen to incessantly upon release, as I was very heavy into the 70s European underground by this point in my life. Which in a way is good, as I can still experience musical discoveries here. The Sanctuary CD offers bonus videos. I should actually watch those some day.

Ownership: 

1986 Capitol (LP)

2002 Sanctuary (CD). With video.

1986 (acquired); 1//06; 8/17/15; 10/23/24 (review)

Senjutsu (2021)

It's nigh impossible to limit the superlatives when talking Iron Maiden. There's really no precedent of a band who has remained true to their sound for 41+ years and continues to evolve and grow in a positive manner. These guys are well into their 60s now, and every album they release is as if they were still in the middle 1980s pushing the boundaries of what heavy metal can potentially be. Most groups with the stature of Iron Maiden would go on to release a perfunctory new album with ten forgettable three to four minute run throughs, then hit the road, and play all the fan favorites from 35 years ago. Not Iron Maiden. How about a triple album with 10 minute plus involved tracks with fun light reading names such as 'Death of the Celts' and 'The Parchment'? And they're so spoiled they have everybody do things for them. Ya know, like singer Bruce Dickinson flying their own 747 around the globe. Who does these things? Whatever the question or challenge, Iron Maiden wins. And yet on forums such as RYM, Iron Maiden is put through the ringer by those much younger with zero perspective. Yes, of course Iron Maiden were never the heaviest - or fastest - or most complex band ever. They are just simply the best at what they did (and do). They are legends in their own time, and that will only grow as the centuries roll on.

As for their 17th album Senjutsu, Iron Maiden continues to bring it. This isn't easy listening metal. And no there isn't anything particularly catchy about it. No different than the prog albums we adore and champion. Iron Maiden is not the latter, but is clearly influenced by the genre, and they make no bones about it either. 82 minutes is a lot to absorb, but if in a patient mood, the listener is rewarded (i.e. I've had this album sitting in the new arrivals box for over six months and just now getting to it). These are albums that are designed to outlive the band. 50 years from now, new serious young minds will want to go beyond whatever is their pop du jour, and tackle something more challenging. Iron Maiden will be one of the early bands they will learn about. On my first listen to the album, I played the first two LPs, and then flipped the 3rd one back and forth for three listens each. Not that I liked it any more than the prior material, it just seemed like a good way to appreciate the album. Honestly I couldn't tell you too much about their Version 3.0 albums starting with Brave New World (2000). This era of the band has far outlasted any other, and all their albums are consistently great. I know their 80s work far better, because I grew up with them - listened to the albums constantly - saw them live a few times - even played soccer with them. They were a huge part of my high school and college years. A soundtrack perhaps. My life post-2000 has been completely different, so I don't relate to Iron Maiden's new music in the same way. But what I do know is that every revisit will seem like I'm hearing a brand new excellent album by Iron Maiden. And that's the exciting part of music such as this.

Ownership: 2021 BMG (3xLP). Triple gatefold. Red and black marble vinyl.

9/4/22 (acquired / review)

Iron Maiden (1980)

Iron Maiden's debut actually predicts their future better than the follow up, Killers. 'Remember Tomorrow', 'Transylvania', 'Iron Maiden', and especially 'Phantom of the Opera' are overtly proggy, while 'Strange World' is a fine ballad. The opening 'Prowler' has a strange psychedelic aura about it, though with Di'Anno singing, you're always closer to punk than psych. One track that I've always had near the top - but is widely panned by fans - is 'Charlotte the Harlot'. Despite the rather dumb subject matter, the track features some nice mood changes, and the blistering dual guitar solos coming out of the last break, are some the most pointed and fierce of their entire career. The US version adds 'Sanctuary', a mid-level song that foreshadows Killers. The only track I can do without is 'Running Free'. Iron Maiden are huge English soccer fans, and they had a tendency to slip in a "football styled" anthem every once in awhile, similar to Judas Priest in that way.

Anyway, brilliant album. You already knew that... presumably.

This came out when I was 15, so it's likely my mom took me to the record shop to buy (and it is this exact copy). Just makes me laugh when I think about it. Incidentally, she's still alive and kicking strong. 81 and as feisty as ever. Lives independently in an apartment about 10 minutes from our home here in Colorado. She'd lived in Texas for 51 years straight, so it was quite a change for her. I remind her that she's responsible for my dementia in music. We just crack up. If Mom had it her way, I'd be singing church hymns instead. On another side note, the cover of Eddie here looked like one of our neighbors back in Texas. I digress. 

Ownership: 

1980 Harvest (LP) 

1988 Capitol (CD)

1980s Capitol (MC)

1980 (acquired); 4/28/20 (review) 

Killers (1981)

Definitely the most straightforward of the Iron Maiden albums. The band were at the crossroads here of raw heavy metal and the more elaborate composition style band leader Steve Harris seemed to prefer. Paul di'Anno was always more suited to be a punk rock singer, and the music here fits his style perfectly. That's not to say the music here isn't complex, often times it is, just more compact. Especially on Side 1 with 'Wrathchild', 'Murders in the Rue Morgue', and the instrumental 'Genghis Khan'. Eventually, though, Harris followed his instincts and recruited from fellow NWOBHM band Samson - the Renaissance Man known as Bruce Dickinson - and thus Iron Maiden were guaranteed their place in music history.

On a personal note, I had the privilege of seeing the band on the Killers tour during the summer in my hometown. I still have the ticket stub: June 13, 1981 at Moody Coliseum (Dallas - SMU campus). I was all of 16 and drove another high school buddy there in my old 1973 Chevy Impala. It was originally a three band bill with Iron Maiden opening, Humble Pie, and Judas Priest headlining. An unusual pairing, and I'm sure the promoters felt they needed Humble Pie to help fill the arenas, as heavy metal wasn't really that popular yet here in the States. Right before the show was to begin, we received an announcement that Humbie Pie had to cancel last minute due to an illness. The guy next to me was pissed! And we were elated - what a break! These were the two bands we wanted to see. So we got extended sets from each. I saw Maiden a few times after this with Dickinson, but it was great to see and hear them with Di'Anno this one time.

Ownership: 

1981 Harvest (LP)

1988 Capitol (CD)

1981 (acquired); 5/24/12; 8/19/15; 4/22/20 (review)

Also own and need to review: Number of the Beast; Piece of Mind; Powerslave; Live After Death; Seventh Son of a Seventh Son; Fear of the Dark; Virtual XI; Brave New World; Dance of Death; A Matter of Life and Death; The Book of Souls

4/22/20 (new entry)

Sacrilege ~ England

Turn Back Trilobite (1989)

Sacrilege were such an unusual band. I bought this album upon release, as it promised a progressive doom metal, similar to Candlemass. We'll get to its contents soon enough.

A few years later (1993) I stumbled on an album in a record store called Behind the Realms of Madness by a band called Sacrilege. It was on an American label, and after hearing it, I just presumed it was a different group with a similar moniker (which was very common back then - still is really). About a decade ago (2015) I revisited that title, and it just wasn't for me. One of the very few metal albums I let go from the collection in recent times. Received a lot of money for it too, about what you would pay today for a nice copy. So what was their sound like? RYM appends the genre as Stenchcore, an extension of Crust Punk. Neither of which I'm familiar with, but one can guess that's not the music Genius Hans gravitates towards. Noisy, messy, with little to hold onto. It's a highly rated album fwiw, which says that for the genre, it's a good one.

It was only then I was informed we were talking the same group as the LP I'm revisiting now. The Behind the Realms group weren't American, but English. Turn Back Trilobite couldn't be more different than its debut. I never heard the middle album by the group, and I understand it's a thrash album (want to hear it for sure). As noted in the first paragraph, Sacrilege had pivoted to a slower, doomier style. With female vocals. And she sings, not growls. On the first listen, and on this visit, I never was blown away by the album. It doesn't have the Candlemass crunch, and the compositions don't challenge the synapses all that much. 'Born Again' Black Sabbath is another benchmark. Some of the guitar solos veer towards space rock, which is a plus. It also seems a bit lifeless. I think the production is mostly the problem. It has this hollow sound, like in a tunnel. Lynda Simpson's vocals also come with a tape hiss in places. When blocking those elements out, the music holds up well. These guys needed to go one more album, with a different producer / engineer, and I think they would have had much more impact on the worldwide stage. According to RYM and Metal Archives, it's definitely their lowest rated album. So it hasn't aged that well either.

I've had this LP forever, so I think I'll hold onto it for nostalgia reasons. Surprisingly it doesn't sell for comparatively too much (~$30), and it appears that sealed cut-outs are still available some 36 years later.

Ownership: 1989 Metal Blade (LP)

1989 (acquired); 1/16/15; 10/13/25 (review)

10/13/25 (new entry)

Magma ~ France

Zühn Ẁöhl Ünsaï (1974 / 2014)

The problem with listening to Magma albums is that you have to find the proper time to do so. It's not like I wake up in the morning, and say "Gee, Magma would sound good with my coffee right about now". Especially their two CD efforts. And especially their two CD live archival albums, where you know much of the material already. So after a proper morning routine and some relative light listening, I was ready to tackle Wagner at the opera matinee. 

As with Soft Machine, Magma frequently changed lineups, so you might hear familiar compositions, but the interaction of the new members gives the sound a unique slant. Though in this case, you have one constant, the concrete pillar known as Christian Vander, so the deviations remain tightly controlled.

The concert opens with the relatively obscure 'Soẁiloï' before launching into a somewhat compact version of Mekanik. This rendition is a bit reckless, and the dynamics that make the studio recording so special, are missing here. CD 2 starts with 'Korusz II', essentially a showcase for Christian Vander to improvise on everything, but primarily drums of course. It's 20 minutes, so a slog for those of us looking for some compositional ensemble playing. The concert ends with a 25 minute version of 'Theusz Hamtaahk', a piece that did not make its studio debut until 2001. My introduction was via the Retrospektiw live show at the bottom of this post. I'm not really that familiar with the piece, like I am for Mekanik, so it still has a freshness to my ears.

Considering everything I already own from Magma, this live set is probably superfluous at this point. I'll hold onto it for a while, but I don't see it making the distance.

Ownership: 2014 Made in Germany (2xCD). Tri-fold digipak. Booklet with history and perspectives.

8/25/14 (acquired); 10/13/25 (review)

Attahk (1978)

No Genius Hans, everyone knows that Attahk is the worst Magma studio album of the 70s. Right? Well... I held that view myself - until recently. I'm really growing fond of this album. I kind of like its funky and compact nature. Great melodies too - it was a cool departure for the band. I enjoyed a +half star listen, and I'm actively seeking the LP out in the wilds. 

Ownership: 1990 Seventh (CD)

1988 (LP acquired); 2008; 11/30/14; 2/15/23 (review)

Kohntarkosz (1974)

One of the most frustrating albums in my entire collection is this one. Even though it's smackdab in the middle of their classic period - and it's highly rated by fans - I think it's their worst album of the 70s (well OK, not counting Inedits, but that one shouldn't count lol). It baffles me. Its predecessor is currently #12 in My 25 Most Important LPs list. The first album is #16. Magma Live is one of the all-time great live albums, and includes a large segment from this very album. Udu Wudu features the monstrous 'De Futura', perhaps their best track ever. But Kohntarkosz? Yea, I mean it's good for sure. It just seems dark and foreboding for its entire length. It misses the joyous melodies and insane climaxes of their other albums.

Ownership: 1993 Seventh (CD)

1986 (Celluloid LP acquired); 10/30/14; 2/15/23 (review)

Felicite Thosz (2012)

Sold? Sacrilege! You cry out. I know, I kind of feel the same way. Magma's discography isn't perfect though. All the same, most of their albums are first division, some at the very top of the pyramid. This album seemed more perfunctory than kinetic. Much of their post 2000 work has been terrific, some of the best music they ever made. Making this album that much more of a disappointment. This is the last album I bought by them.

Former ownership: 2012 Seventh (CD)

7/4/12 (acquired); 11/14/22 (review)

Magma (1970)

Magma's debut was my introduction to the band (in 1985). I guess I would have that in common with those that were buying new albums in 1970. And I'm sure their reaction was very similar to mine: What....The....F is this? Not only was the world of Magma completely foreign to me, but at that point in my life, I probably had less than ten continental European underground prog albums. I was determined to understand it. I played it over and over. It was almost impenetrable. I don't think I ever truly grasped what they were trying to do, until many, many years later. But at least I was intrigued enough to continue with the band, and as mentioned on the Mekanik review, I became a Zeuhl fan for life.

Even for Magma, it's clear they didn't really have a direction yet. It was Christian Vander's band, yes, but it was far more democratic than it was to become. The songwriting here is very disparate. Initially Magma was created as an homage to John Coltrane, and this is evident with tracks such as 'Aina' and 'Malaria'. The Magma of the future only truly showed up in Vander's compositions, like 'Kobaia', 'Aurae' and especially 'Stoah'. But jazz is still front and center to their sound, and one cannot help but notice a certain Zappa influence in parts, which was popular in the European underground in those days. Especially with the tightly written charts and melodic songwriting. There's even traces of horn rock here proving that, yes, Magma were a product of their day. But you have to start somewhere, and Magma did so with a bang. They would continue to shape their brand as it were, and ultimately become the icons they will always be - for eternity.  

Magma's debut is really not the place to start if curious about the band. But it remains one of my favorites by them, because it shows another side of their talent. It would have been interesting to see that flourish as well. They tried with Univeria Zekt, but they didn't take off as expected.

Ownership: 

1970 Philips (2xLP). Gatefold with flaps to protect the inner sleeve. Hard to imagine a crazy band like Magma to be afforded such a budget back in 1970, but such were the times back then. My copy is known as the "Chappell" version.

1988 Seventh (CD). Fat box with booklet showing the recording details.

1985 (acquired); 8/24/21 (review)

Mekanïk Destruktïw Kommandöh (1973)

The most relentless album ever made. From the opening choppy piano notes and pounding rhythms, Magma lays down the gauntlet for their 3rd opus. They'd been fiddling with the formula since the beginning, and it's here that they (mostly) shed their jazz influences for one of classical and opera. With full choirs and a heavy brass section, along with lead vocalist Klaus Blasquiz going absolutely out of his mind, Magma pounds every sense you possess. Despite what sounds like a slog to get through, Mekanïk Destruktïw Kommandöh is surprisingly melodic. It's a case study on how to use dynamics in what would otherwise be considered an oppressive environment. There's plenty of light touches throughout to build the mood and atmosphere. And all of this is done using their home baked Germanic Kobaian language. But what makes Mekanïk Destruktïw Kommandöh special is not the constant buildup, but rather the most intense climax and release one can possibly imagine. After some 30 minutes of grinding, Magma goes berserk on the title track, burning everything down in flames. The subsequent finale expresses a post-apocalyptic world. Where everything is now in ruins. This is the Zeuhl masterpiece that inspired dozens of musicians worldwide - and for generations to come.

This was not the first Magma album for me to own (I lucked into the debut prior), but it was the one that convinced me I was to be a Zeuhl fan for life. I purchased this in the summer of 1986, long before I had a grasp on the European progressive rock underground. So yet again we have an album that shaped my tastes, rather than validated them. In fact, it took a full year to finally hit me. For my final semester in college (fall 1987) I was forced to live in an efficiency apartment. I didn't bring my stereo, just a Sony cassette boom box (which I still have!). I made a handful of tapes for these final four months, and this was one of them. There were days when this was all I would hear. It's almost impossible to believe that Herb Alpert's label would release something like this here in the States. We're a long way from Sergio Mendes.

Ownership: 

1973 A&M (LP). Gatefold. Inner gate has lyrics and English translations.

1989 Seventh (CD)

1986 (acquired); 8/23/21 (review)

Retrospektiw I-II (1981)

Hadn't heard this in 22 years - and recalled nothing about it. Well it's live Magma, so the surprises are about nil at this point. It's a spirited show, but pales against Magma Live Hhai, or even some of the released archival 70s shows that have come out in recent years. My score went down a bit, but still has to be considered essential for Magma fans.

Ownership: 1994 Seventh (2xCD). Fat box.

1998 (acquired); 9/21/20 (review)

Also own and need to review: 1001 Centigrades; Wurdah Itah; Magma Live; Udu Wudu; BBC 1974 Londres; Theusz Hamtaahk Trilogie; K.A.; Emehntehtt-Re 

Formerly owned: Inedits; Retrospective Vol. 3; Merci; Theatre du Taur; Bobino 1981

9/21/20 (new entry)