2025 Psychedelic / Garage Journal Vol. 1

The Sunrays - Andrea. 1995 Collectables (CD) (1966). The Beach Boys' abrasive old man Murry Wilson, fresh off getting booted as manager by his kids, decides he can put together any ol' group of musicians and rise to the top. Complete face plant, Andrea can only be viewed positively as a time capsule album. The Sunrays are like a mix of The Beach Boys, The Association, and The Four Tops. Misses the magic of Brian and the boys, and is imitation at its worst. CD offers apologist notes. Probably this will be the last 2025 Psych journal entry, so I'll just add here and move forward. (12/26)

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

Metal Church ~ USA ~ Seattle, Washington

Blessing in Disguise (1989) 

---7/7/15

I bought this on LP when it came out, and 26 years later it just gets better and better. The songwriting is top notch, the riffs are sharp and memorable, the production is massive, and new singer Mike Howe's shrill and passionate vocals fit the music perfectly. There are plenty of progressions within each track, keeping the music exciting throughout. 'It's a Secret' recalls the killer instrumental 'Merciless Onslaught' from the debut. Overall, Blessing in Disguise sits comfortably in the middle ground between old school metal and late 80s thrash. Superb.

---12/22/25

For whatever reason I did not add that review to UMR, so it makes its debut here. It's interesting to note that this album isn't really progressive - or even all-out thrash - yet it has elements of both embedded that makes it a fascinating listen. It's a sophisticated album, but not overtly so. Metal Church found a niche in an overcrowded metal marketplace. I didn't mention it above, but if you're going to listen to one track here, make it 'Badlands'. At once beautiful and powerful. Incredible vocal performance by Howe. A true 5 star masterpiece. 

As I catch up on the band's history, it's sad to read that both of their iconic lead singers have passed away, along with their original drummer. On the positive front, they are still marching forward with ever changing lineups around founder Kurdt Vanderhoof, and plan on releasing their 14th album in 2026. As you can see at the bottom, I've barely heard a fraction of them. And only one recent title. 

Ownership: 

1989 Elektra (LP). Lyric insert.

1989 Elektra (CD). Tri-fold booklet with lyrics and photos.

1989 (LP acquired); 7/7/15 (review); 12/22/25 (update)

The Dark (1986)

For whatever reason, I could never buy this album back in the day. It was like a reverse magnet. I'd have it in my hands, and put it back. I loved the first album (still do), and when Blessing in Disguise came out, I jumped on it. This latter work remains one of my all-time favorite metal albums. But I still didn't get The Dark. I even had a CD of Human Factor at one point (long gone). So leave it to me to wait until it's expensive. That's the Genius Hans way! Ah well, on the same wall with Wrathchild America was a perfect copy of this (it was an incredible metal buy from these guys - all in shrink and most looked untouched). It was overpriced (like unfortunately most of the others, though the WA was fairly marked), but I can never find anything to use my trade credit on, so what the hell - still free for me essentially. 

I offer this prelude to give you perspective on how I approached my first listen. It was with high anticipation. Well... it appears my basic instincts were correct. Or I should state - sort of correct. It's a good album for sure - solid metal all the way. But it misses the X factor that the two albums that surround it have. Whether it be the lack of hooks, energy, or epics, this album isn't breaking any new ground for 1986. I do appreciate Dave Wayne's shrieky voice though. On the downside, the production is a bit "square wave" if you know what I mean. I'm sure I need more time with the album - as the other two I must have heard well over 50 times each (which is what we all did back then). But I wasn't compelled to hear The Dark twice in a row last night. Anyway, a keeper for sure. But disappointing.

Ownership: 1986 Elektra (LP). Lyric insert.

3/7/21 (acquired / review)

Also own and need to review: Metal Church (1984); XI

Once owned and need to revisit The Human Factor.

3/7/21 (new entry)

Jean-Luc Ponty ~ France ~ USA

Aurora (1976)

Unlike most of Ponty's classic fusion albums, I've never heard Aurora, one of his landmark works. Just one of those quirks of life I guess. It wasn't that long ago I featured an obscure fusion band from my original hometown of Dallas named Aurora, no doubt influenced by this album. In any case, as noted below, I recently acquired Cosmic Messenger on CD, and this album is included with it.

As usual, Ponty surrounds himself with top talent including the lovely Patrice Rushen on keyboards. Always-around-somewhere guitarist Daryl Stuermer provides some pretty mean licks. Ponty's heavily affected violin is smooth as glass. Overall not as intense as Cosmic Messenger, but there are plenty of fire moments here too, including the lengthy two part title track. The album closes with two mellow numbers leaving it with the overall impression it's a light album, but that's not really the case.

12/22/25 (review)

 

Cosmic Messenger (1978)

---8/2/21

I love the way that Ponty layers all the instruments, and there's some really fine rhythms, tying to my new favorite genre of jazz funk. Excellent solos as well, rarely showboaty, always measured.

---12/16/25

That was the journal entry from only a few years ago, and my second listen. Though I was certain to have heard this album in the 80s or 90s, I had no record - or recollection - of it. I consider the 2020 listen as my introduction, after acquiring it at an estate sale a few months prior. I unintentionally made it sound like a solo album, but it's a full band effort with four to six musicians performing on each track. Some great synthesizer and guitar work from the guests add a lot of color and energy to this fine work. Naturally his violin remains the feature. Ponty was a major force in the fusion field at this time, and his albums go toe to toe with the best of them. I find albums like this very easy to listen to, and provides a nice break from more complex efforts.

Ownership: 2022 Wounded Bird (CD). With Aurora. Booklet has recording details only.

1/5/20 (LP acquired); 8/2/21 (journal); 12/16/25 (CD acquired / review)

Individual Choice (1983)

Individual Choice is a very interesting album from Ponty, favoring the synthesizer over his trademark violin. In this way, he seems to be following Richard Pinhas' approach more than his own fusion based efforts. His sound choices are mostly monolithic while heavy on the sequencer. Though more positive in tone, one could make comparisons to Chronolyse, especially when there's bass and drums present. The melodies are well written and provide a nice contrast to the normally cold electronic genre. Always fun to hear future American Idol star Randy Jackson on the bass. He certainly earned his way to being a judge, as he was a very busy session player in the 80s. Only the finale 'In Spite Of All' demonstrates Ponty's fusion tendencies. I'd owned this album many years ago, but dismissed it as ordinary fusion. I missed the boat. Wrong genre and wrong mindset.

Ownership: 1983 Atlantic (LP)

1993 (first acquired); 4/18/23 (reacquired / review)

Also own and need to review: King Kong; With the George Duke Trio; Enigmatic Ocean

Once owned and need to revisit: & Stephane Grappelli; Imaginary Voyage; Civilized Evil; Mystical Adventures

4/18/23 (new entry)

Vangelis ~ Greece

Albedo 0.39 (1976)

Here's an album I've owned in one form or fashion for 35 years, but never got around to penning any notes for it. Vangelis had this habit of throwing out rock textures every once in awhile before being drawn back to softer electronic music. He was a natural leader in the new age movement of the 1980s, and achieved great success with Chariots of Fire. His music more famous than the movie. The opener here 'Pulstar' is one such creature, filled with heavy rhythms and electric guitar. Most of the longer songs are rock based, though still very much rooted in the electronic sphere. I'm not always keen on his synth textures however. Some of them I find grating. Other than the opener, the other highlight would be the two part 'Nucleogenesis' which mixes rock drums with synthesizers, including the use of sequencers. Much more classical symphonic than Klaus Schulze and Edgar Froese's experiments at that time.

Ownership: 1997 Windham Hill (CD). Alternate cover to fit the label's motif. Oddly this is the only US CD pressing of this album, including compilations.

1990 (LP acquired); 2/6/13 (CD acquired); 5/23/17; 12/22/25 (review)

L'Apocalypse des Animaux (1981) 

Though recorded in 1970, the album wasn't originally released until 1973. This is a TV soundtrack and very much ahead of its time in using electronics to set the mood. A bit slow for listening but one can certainly admire the pioneering spirit. Along with his group Aphrodite's Child, Vangelis was leading the pack in creativity in the early 70s. He settled into old age too fast. 

Source: 1981 Polydor UK (LP)

6/18/24 (review)

Hypothesis (1971 / 1980)

---2004

Hypothesis and The Dragon are loose jazzy rock jams from 1971 recorded prior to Vangelis' masterwork 666 with Aphrodite's Child. Vangelis treats these two recordings much in the same way as Klaus Schulze does with the Cosmic Jokers, in that he's distanced himself from them and claims they were never meant to be released to a larger audience. This argument can be further advanced by the fact that the LP's were released some seven years later. And Vangelis successfully sued to have them removed from the market. Though not in time for them to proliferate worldwide.

---5/18/23

Picked this up for a buck at the Austin show. I've had it before but my opinion remained unchanged on this revisit. I'll sell it again.

Former ownership: 1980 Oxford / Affinity Italy (LP)

1990 (acquired); 1996; 2004; 5/18/23 (reacquired / review)

Antarctica (1983)

I never heard this album, but it was very prominent in the import sections back then, which was my heyday into discovering new electronic albums. When one sees Vangelis and Antarctica, my mind moves to glacial and dull. But that's not really the case here. It's majestic and accomplished. While it for certain sounds "modern" by 1983 standards, its structure is based in both classical and 70s electronic. A very nice, mellow, late evening listen to reflect upon one's life. Probably not enough here for me to keep at this point, but I consider this in the upper tier of Vangelis' solo works.

Source: 1983 Polydor Japan (LP)

8/7/21 (review)
 

Mask (1985)

Similar to Mike Oldfield's Amarok considering sequence, Vangelis' Mask is an album out of nowhere. By this time, most of his music was wimpy New Age. But not Mask. Heavy sequencing, haunting choirs, pounding percussion, and moody textures define this advanced work. A great album that has stood the test of time. And a good one to play to those who think Vangelis is an artist to be ignored.

Ownership: Polydor (CD). 90's pressing.

1989 (LP acquired); 9/15/19 (review)

Sex Power (1970)

Sex Power is Vangelis' debut solo album, which is a pretty crude, but well done, soundtrack to a French soft core erotica flick. There's the usual ambient atmospheric keyboards, along with Martin Denny styled Exotica (bongos, voices), as well as sound field tape sounds. Decent enough for the era. Not sure why this hasn't been reissued (legit of course), given its historical value at the very least. Guess the artist wants nothing to do with it.

9/8/19 (review)

Also own and need to review Earth.

Once owned the following: Heaven and Hell; Opera Sauvage; China; The Friends of Mr. Cairo; Soil Festivities; The Dragon

9/15/19 (new entry)

Guru Guru (& related) ~ Germany

Kanguru (1972)

---June 2005

Closest early era Guru Guru got to mixing song craft with their unique blitzed out acid psych sound. Comes off like a twisted 8th dimension Jimi Hendrix. Pretty hard not to call this a classic, though it would be just as easy to see how this could turn people off.

---12/22/25

For whatever reason, I'm not really all that familiar with Kanguru, Guru Guru's third effort, despite owning the LP for well over 30 years. I had dumped my Brain CD not too long ago, and later thought this title warranted owning in both formats. So this listen was appointed to the top because of the reacquisition of the latest CD, as the LP hasn't been chosen randomly in 20 years. I didn't realize I had any notes until a search came up with the above. Let's see how it goes this time.

For some reason I remember the opening to 'Immer Lustig', not so much the rest. The translated title certainly reflects Mani Neumeier's silliness on the back cover. I'm just as unfamiliar with the predecessor Hinten, and I feel like knowing that album better would help me frame my narrative for Kanguru. And the transition from UFO to here. Kanguru is without a doubt still off the rails in high intensity heavy cosmic acid psych. Which was becoming unusual at that time. Even Amon Duul II had settled by 1972, though groups like Ash Ra Tempel were still climbing that mountain. Having said that, there is a distinct move towards composition here, as loose as they may be. As the music goes off into space and grinds its way through various jams, suddenly a cohesive new rhythm would appear complete with an unheard melody. There's no indication when this may happen, it's completely random. This isn't progressive rock in the slightest, but it does have some similarities in the unpredictability. When reading my short notes from 20 years ago, I managed to distill fairly well what's happening here. I would think Kanguru would be an easier introduction to Guru Guru than UFO, unless you are already predisposed to the insane German psych underground like I was (and documented below).

Ownership: 

1972 Brain (LP). Gatefold. Green Brain Metronome.

2025 Made in Germany (CD). Digisleeve. Booklet with historical liner notes (same notes as the 2009 Revisited reissue).

1992 (LP acquired); 1996 (Brain CD acquired); 6//05 (notes); 12/22/25 (MIG CD acquired / review)

Dance of the Flames (1974)

This is the odd album out in the Guru Guru canon. Former Eiliff guitarist Houshang Nejadepour took over the reins from Ax Genrich, and it's obvious he took over the musical direction of Guru Guru at this point too. And they needed it, after releasing the halfway stupid (and halfway great) self-titled 4th, and the ridiculous Don't Call Us We Call You albums. Heavily influenced by the McLaughlin / Santana opus Love Devotion and Surrender, Nejadepour gives us an intense guitar centric blast of emotional instrumental rock. Neumeier gets a rare chance to shows his formative jazz percussion chops while special mention should go to jazz bassist Hans Hartmann (AR & Machines, ID Company) who turns in a monster performance. Still, you can just hear Mani in the studio "oh please, please, let me do one goofy thing, pleeeassssssse." And so he gets his fun on the first track with a Donald Duck impersonation and bad vocals throughout (though the music is excellent). "Very nice Mani... now go back to your drum kit and shut up". 'The Girl From Hirschhorn' is a truly remarkable track, an extremely intense emotional and melodic workout, and the song that states this album was going to be a great departure from whatever came before it. 'The Day of Timestop', and 'God's Endless Love for Men' could have been lifted from Mahavishnu Orchestra's "The Inner Mounting Flame" sessions. 'Rallulli' sounds more like acoustic Embryo than Guru Guru.

After one album of spiritual enlightenment, Mani obviously wanted no part of that, and the group went back to being the goofball vehicle it had become, and never again was Guru Guru to release anything of that much interest IMO. Houshang was gone. Neumeier himself, however, did immerse in interesting projects, even today with the UFO styled Neumeier – Genrich - Schmidt and Gurumaniax projects. But Guru Guru as a band never again reached the heights of Dance of the Flames. Whatever happened to Nejadepour? What a talent!

Ownership:

1974 Atlantic Germany (LP)

2006 Revisited / SPV (CD). Tri-fold digi-pak. The liner notes include a full history of Guru Guru and a separate one for the album itself. Nice photos and an excellent 7+ minute live track round it out. It does sound to my ears that this was mastered from vinyl however. 

1989 (LP acquired); 1997; 9//06 (CD acquired / review); 8/6/15 (update)

 

Gurumaniax - Psy Valley Hill (2010)

Presumably, the members of Gurumaniax need no introduction, nor does its core group Guru Guru, so off to my notes we go.

Almost everyone I know that is aged 70 tends to be a doddering Grandfather, or someone who fiddles in the yard / garden to pass the day. Some are more active of course - maybe they travel extensively, run a restaurant, or they still immerse themselves in day-to-day corporate business. But absolutely no one I know at age 70 has recorded a KRAUTROCK ACID FREAKOUT album, as has Mr. Neumeier, who was already 30 when the monumental UFO was released in 1970. Joining Mani is the youngster guitarist Ax Genrich who was only 25 when UFO was launched. And Belgian bassist Guy Segers (Univers Zero) fills in ably for Uli Trepte (RIP) - himself no spring chicken. The music squarely fits into the exploratory Ohr years of Guru Guru, with heavy psychedelic jams offset by spacey parts. What an inspiration to see these guys still possess the spirit of their youth. I just hope I still have the excitement of listening to this stuff at 70! Gurumaniax's music make kids in their 20s put on the oxygen masks. I love it.

Ownership: 2010 Bureau B (CD)

4/10/13 (acquired / review)

 

UFO (1970)

I knew it was the best album in the stack. It was only a matter of time to when I could get home and hear it. Home to the United States that is. It was London, May of 1987, and I had picked up a pile of records from the Virgin Megastore, plus many others from our swing through Continental Europe. But I knew UFO was going to be the big winner. It was the Pop Import release of course, but even those were extinct in the record stores back home in Dallas. The day-glo gatefold cover of an orange flying saucer against the textured yellow background. The Ohr/ear symbol at the top (perfectly simulated with the new Captain Trip Japanese mini-LP release - right down the exact slickness of the cover). The giant ear on Uli Trepte's profile. Even the birthdates were telling. 1940, 1941 and 1945. To say, at the time of recording, roughly 25, 29 and 30 years old - pointing to the value of experience over youthful naivete. The track names 'Stone In', 'Girl Call', 'Next Time See You at the Dalai Lhama', 'UFO', and 'Der LSD-Marsch'. The liner notes in English: Soon the UFOs will land and mankind will meet much stronger brains and habits. Lets get ready for that. - P. Hinten. There were German notes as well, and they looked cool too. It had to be everything I imagined an unhinged German psychedelic record to be. I had read about it, and now I had it my hands. I could barely wait to fly home. Jet-lag be damned, it was on the home stereo the moment I walked in the door. It was an experience I would never forget.

Blam, blam goes Ax Genrich's massive fuzz guitar. BASH goes Mani Neumeier's gong / cymbals / percussion. Uli Trepte adds a bass line, and we're already in MID JAM form 15 seconds into the recording! And it gets only more intense from there. Brain frying acid guitar as the pace picks up and moaning wordless chants cascade over the mayhem. This isn't a mindless jam ala the Acid Mother's Temple. Everything is coherent, with a purpose, the work of 3 experienced jazz trained road warriors. They were already masters of their trade, but applied to a new kind of instrumental psychedelic free rock. 'Stone In' is 5:42 of perfection. Maybe the greatest opening sequence in psychedelic history. 'Girl Call' follows and is no less powerful, allowing us a viewpoint in what might have been the first minute of 'Stone In', before launching into another insane jam. The transition from the heightened tensions of 'Girl Call' to the fast paced Eastern oriented jam of 'Next Time See You at the Dalai Lhama' still sends shivers down my spine. By the end of Side 1, I can say with some conviction: It is perfect.

We theoretically flip the record over and visit the lengthy title track. Here Guru Guru shows their abstract side. An exercise in psychedelic decomposition. Rhythmnless. Intense to the point of painful. Out of the abyss rises 'Der LSD-Marsch', and the acid guitar trio is back in form, igniting your stereo in flames. If it went another hour, it would only be better. I can think of less than 10 albums I'd say that about.

21 years after that first encounter, I hear UFO better than ever. A true all-time classic that has transcended time.

Ownership:

1970 Ohr (LP). Gatefold. Original 56 version. 

2008 Captain Trip (CD). Gatefold papersleeve.

5/17/87 (Pop Import LP acquired); 8/20/08 (CD acquired / review); 12/4/21 (update)

Also own and need to revisit: Hinten; Guru Guru (1973); Hot on Spot / Inbetween; Psychedelic Monsterjam; The Intergalactic Travel Agency

I've owned many other titles, some I need to revisit, others I know can be left at the door.

6/8/09 (new entry)

Maynard Ferguson ~ Canada ~ USA

Carnival (1978)

As with Primal Scream and Conquistador, Carnival is an album I acquired in high school and doubtful it made it to college with me. I had forgotten about this title actually, and its impact was far less than the other two. If memory serves, this album showed up about a year later in my collection, and my brain was going underground by then. The 69 cent bin comes in handy once again, and let's see if I remember any of it. This is also the first vintage Maynard album for me to hear on CD (not counting Diane Schuur).

As with Conquistador, the album opens up somewhat in proggy territory, before finding its way into more friendly funky big band sounds. Strings and a light disco beat add that Love Boat cruise ship feel. That's not to say the funky beats aren't complex and well written. This isn't dance music, more like cocktail hour on the Lido Deck. The second track is my all-time favorite Earth Wind and Fire song 'Fantasy'. A very unique arrangement and entirely satisfying. 'Battlestar Galactica' is a repeat of the same idea and same placement as 'Star Trek' from Conquistador, which was one album prior. 'Stella by Starlight' is an old school jazz lounger.

The second side opens with 'Birdland', a signature song written by Joe Zawinul of Weather Report and can be found on Heavy Weather. We used to play this tune in our high school stage band in 1982-83, which may have been the impetus for me buying this. 'Baker Street' is an unnecessary cover of Gerry Rafferty's hit single. 'How Ya Doin' Baby?' sounds like a caricature of funk. The album closes with a smooth jazz rendition of 'Over the Rainbow', and you can imagine how that sounds.

Yea, I can see why this title didn't register much with me. The other two are powerful and dynamic. Carnival plays more to its perceived audience rather than asking the audience to accept what Ferguson brings. The opening two tracks are the winners here. I can move on from this title.

Source: 2003 Wounded Bird (CD). Booklet with recording details.

1982 (LP acquired); 12/22/25 (review)

Primal Scream (1976)

Not long after I acquired Conquistador in high school, I ventured deeper into Ferguson's catalog and purchased Primal Scream. In reflection I may have bought his two best albums, using nothing more than my instincts at the time. As with Conquistador, I didn't give my music palate a chance to expand, and ultimately parted with it by the time I reached college. In my first revisit since (40+ years?), I hear this album as nothing short of great. Plenty of deep grooves to back up Ferguson's impressive lineup of jazz A-listers. I really appreciate the jazz funk cop show-ish 'Invitation', a track I was recently reminded of from Jaco Pastorius (of all artists). Nostalgia + great music = a long residence at Casa UMR. I'd put Ferguson in the same category as Sergio Mendes and Deodato: Regular thrift shop records that belong in your collection.

Ownership: 1976 Columbia (LP)

 
1981 (LP acquired); 10/4/24 (LP reacquired / review)

 

New Vintage (1977)

I've been in the mood for big band jazz funk of late, and Maynard Ferguson was one of the leading lights in this area. I'm familiar with most of his output from this era, including the excellent Conquistador and Primal Scream (see reviews here), but this is one title I missed. And I can see why now. Fairly generic with the usual mix of covers, disco, and stage band. Misses the vibrancy of his best work.

Source:  1977 Columbia (LP)

 
8/2/24 (review)

 

M.F. Horn 4 & 5: Live at Jimmy's (1972)

Wow, the first side is excellent recalling the powerful 'Give it One' from MF Horn 2. My kind of rocking big band sounds. The rest is pretty standard "stage band" fare, the kind of music I used to play while in high school. Well done for what it is, but not something I will listen to much and can sell. But side 1 almost had me keeping it. 

Source: 1972 Columbia (2xLP)

4/18/22 (review)

M. F. Horn Two (1972)

Ferguson has something very interesting going here - that of a big band rock album. Not horn or brass rock, but big band. Terje Rypdal started his career with a similar type effort. The opener 'Give it One' packs a wallop, with multiple theme and meter changes. And jams heavy too. I would love to hear a whole album of this! The remainder is the usual Ferguson mix of cover tunes and originals, the latter being the highlight. Though I never tire of 'Theme from Shaft'. Overall, the album is quite good and unique - for my collection at the very least.

Ownership: 1972 Columbia (LP).

 
3/9/22 (acquired / review)

Conquistador (1977)

This was the first jazz album I ever bought, going all the way back to 1981 while still a sophomore in high school. Ferguson was popular with the brass section of our school marching band, which I was part of. I really enjoyed it at first, but I didn't really have a foundation or perspective for the music, and a few years later I parted with it. I don't think I allowed myself a chance to like it honestly. Now it fits perfectly with my ever increasing interest in jazz funk. I'm a sucker for the 'Rocky Theme' anyway, and what better way to open an album. 'Mister Mellow' and 'Soar Like an Eagle' are superb jazz funk numbers. And the title track starts off in progressive rock territory of all things. After the opening trumpet proclamations, it breaks down into a massive oft-kilter bass and drum riff, before joining the rest of the album's genre motif. Today I consider this an excellent album and glad to be reunited.

Ownership: 1977 Columbia (LP). Half-Speed Mastered. 

1981 (LP acquired); 3/12/22 (LP reacquired / review)

Diane Schuur / Maynard Ferguson - Swingin' For Schuur (2001)

This one goes back to 2019 when I bought a huge pile of CDs for pennies. Pretty good late night noir-ish release. Schuur does a decent job at the femme fatale role, though she isn't really sultry enough. When it's her and the band, the music is nice for driving. But oh boy, is Maynard Ferguson all wrong for music like this or what? His "primal scream" trumpet is all over the recording, and it's like an air raid siren blaring on top of a symphony orchestra. This music is made for Miles Davis and his followers. For me, 'Bésame Mucho' is the highlight of the 12 songs here. 

Source: 2001 Concord (CD)

11/28/21 (review)

7/29/22 (new entry)

Triade ~ Italy

1998: La Storia di Sabazio (1973)

---March 2005

Funny, as I hear this album again, it’s clear that when the Japanese want to emulate Italian groups from the 70’s, this is what they sound like! Mahoujin, Social Tension, Ars Nova, even Pochakaite Malko borrow heavily from this album. Triade themselves are clearly influenced by ELP, but with the usual overblown style the Italians are famous for. Though not as insanely bombastic as Metamorfosi on Inferno. Now that’s side 1. For side 2, more of the same, but they change gears on ‘Espressione’ towards a more mellow sound dominated by piano and acoustic guitar. Reminds me a bit of Latte E Miele’s Papillon or even some of Gli Alluminogeni’s more lucid moments. This is pretty easy to digest, standard issue Italian prog. Not sure why it gets dogged, other than it’s not Semiramis or Museo Rosenbach (they can’t all be). And standard issue from the 1972-1974 era means 4 stars around here.

---12/22/25

And that was my last listen, which was pre-UMR. Until today. My Japanese reference, of course, related more to the composition style. Not the sound, as Triade is every bit the era of 1973. Hammond organ and that fuzzy production that make Italian albums so endearing. The first side is all instrumental whereas the flip has vocals.

Ownership: 

1983 Nexus / King (LP). Gatefold.

2004 Strange Days / Warner (CD). Gatefold papersleeve. Also have the Disc Union storage box with this album cover.

6//96 (LP acquired); 6//99; 3//05 (CD acquired / review); 12/22/25 (update / new entry)

Savatage ~ USA ~ Tampa, Florida

Hall of the Mountain King (1987)

I stayed loyal to Savatage despite their last effort being the dreadful Fight for the Rock. And I was also losing enthusiasm surrounding Power of the Night, since reconciled as noted below. The reviews of the era stated emphatically that Hall of the Mountain King was a strong return to form. So I plunked down what few remaining dollars I had left by my last semester in college (the defense contractor intern money from 85-86 was gone by then). I'm pretty sure this was the last LP I bought before graduating. A good way to exit. Indeed, Savatage was back. Crunchy guitars, shrieking vocals, and the heavy bottom end are all in full force. And the band began to embrace the progressive, something they seemed reluctant to do, though they'd circled the concept early in their career. The songwriting is strong here as well.

Hall of the Mountain King arguably saved them from disintegration, and opened a lot of doors for the future. Today it is considered their masterwork, though I remain loyal to their initial couple of releases, given the time and place context. 

Nonetheless I stopped here with Savatage, and didn't check out any of their later albums until the last ten years or so. None have really wowed me, though revisits are in order.

Ownership: 1987 Atlantic (LP)

10//87 (acquired); 7/20/13; 12/16/25 (review)

Sirens (1983)

I've mentioned Sirens on plenty of posts in the past but have never featured or written anything about it directly. I purchased this on the same fateful January 1984 day that I acquired Manilla Road's Crystal Logic while still on winter break from college. Neither album had much initial impact on me. They were both slow growers. Today I consider Manilla Road's album close to the top tier, whereas Sirens remains merely excellent to my ears. Primarily that's because there isn't any one track that makes you sit up and proclaim "did you hear that?" That is to say, there is no 'Dreams of Eschaton' here. But what Sirens did bring was a superbly crafted traditional heavy metal album. Fantastic bass heavy production with crunchy guitars and Jon Oliva's unique snarling and yelping vocals. Not a dud track among the nine songs on display. Though the band were to later incorporate progressive rock and opera themes, I prefer this earlier incarnation of the group. I think they were to peak on The Dungeons are Calling EP before experimenting with more commercial music and then onto the aforementioned progressive rock ideas of Hall of the Mountain King. Sirens is slower and heavier than the bands it's often compared to such as late 70s Judas Priest, same era Iron Maiden, and early Queensryche. It fills a unique space inside of an obvious context.

Ownership: 

1983 Par (LP). "Legal rights" on the label version. 
2002 Metal Blade (CD). Silver anniversary edition. Liner notes written by former drummer Steve Wacholz. Features three relevant bonus tracks likely taken from the same era (though not documented). 

1//84 (LP acquired); 1/21/13 (CD acquired); 9/28/19; 9/21/23 (review)

Power of the Night (1985)

I bought this when it first came out, but by the 90s I had become tired of this kind of traditional metal sound. Though fortunately the first two Savatage albums (including the EP) still resonated and have continued to become legend in my mind (as noted here). Both are treasured parts of the collection. In retrospect I can see my initial dissatisfaction with Power of the Night, as the album is more straightforward and it wheezes out at the end. But I love the way Savatage brings those big riffs and Jon Oliva yelps his lines. And that heavy bottom rhythm. Keeper for now.

Ownership: 1985 Atlantic (LP)

6//85 (LP acquired); 7/15/23 (LP reacquired / review)

The Dungeons Are Calling (1985)

The Dungeons are Calling is Savatage's second effort, and is a blistering set of six traditional metal tunes. Easily Savatage's heaviest album, I would have to disagree this constitutes nothing more than leftovers. There are three absolute monster tracks here: 'City Beneath the Surface' sounds like Sabbath's Sabotage album taken to the 3rd power. The title track and 'By the Grace of the Witch' are crushingly heavy, but also melodic and memorable. Jon Oliva is really belting them out here with the best of them. And brother Criss' guitar sound is exactly it. Even the weaker tracks are no slouches. 'Visions' sounds like many a Mausoleum type European rumbler, while 'The Whip' could have been lifted straight from Judas Priest's Defenders of the Faith session.

Ownership: 

1984 Combat (EP)

2002 Metal Blade (CD). Silver Anniversary with bonus tracks.

3//85 (EP acquired); 12//04 (CD acquired); 2/2/16 (review)

Also own and need to review: Edge of Thorns; Poets and Madmen

Once owned the following: Fight for the Rock; Streets; Dead Winter Dead

12/4/16 (new entry)

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

...And Still Getting the Ladies (2002 / 2004)

This recording is technically only bonus tracks on the No Commercial Potential CD reissue (see my review below for that title). But since it was recorded 17 years later, and features roughly 55 minutes of new material, I consider it a proper album. I would also recommend listening to them in different sessions, as these are long winded jams. Oftentimes intense too. Though you don't need to wait eight years to do so (?!), as I have apparently.

With 17 years of recording under their belt at this time, what you hear is a far more professional band. Pacing is key, and there's drifty space electronic sections that increasingly gain more energy, before launching into a psychedelic frenzy. Not for everyone, but those who enjoy psych jams will relish this set.

Ownership: 2004 HC (2xCD). With No Commercial Potential. Booklet filled with images and photos. Includes recording details.

1/5/08 (acquired); 12/16/25 (review)

 

Burning the Hard City (1991)

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

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

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

Ownership: 1991 HC (CD)

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

Regenerator 3017 (2014)

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

Ownership: 2014 HC (CD). Digipak.

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

The Ritual Continues (1987)

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

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

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

Suspension & Displacement (1991)

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

Ownership: 1991 HC (CD)

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

The Devouring (1997)

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

Ownership: 1997 Cuneiform (CD)

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

Reflections from the Firepool (1989)

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

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

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

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

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

Ownership: 1989 HC (CD)

1989 (acquired); 7/30/18 (review) 

No Commercial Potential (1985)

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

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

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

Fernwood - Arcadia (2015)

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

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

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

Ownership: 2015 private (CD)

5/12/15 (acquired / review)

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

Also once owned Ascension.

5/12/15 (new entry)

The Underground Railroad ~ USA ~ Fort Worth, Texas

The Origin of Consciousness (2005)

---Jul 2005

An improvement on the already very good Through and Through, The Underground Railroad continues their quest to discover new sounds in an old genre. The best compliment I can pay the group, and I know they will really appreciate this, is that they really don’t sound like anyone. Sure, one can hear elements of bands such as Genesis, IQ, and Porcupine Tree, but only the parts. I used to have long running debates with keyboardist Kurt Rongey on the evolution of technology and its marriage with progressive rock. Kurt is adamant that the latest technologies should be employed in the keyboard department, so absolutely no retro mellotron here. Bill Pohl is a guitarist’s guitarist, and has more chops than most, yet his style is subtle. At times very complex, at times very melodic, The Underground Railroad has carved their own picture into the graffiti wall. Played this three times straight and each listen revealed considerably more than the last.

---12/15/25

So if you didn't get the implication above, I knew the band well, at least Kurt and Bill. Not so much as The Underground Railroad but earlier incarnations from the late 80s and early 90s, when I interacted in person with them often. We all met when I was participating on a progressive rock radio show for the NPR affiliate in Dallas (which ironically Kurt is now involved with in a much more official capacity). And we maintained a strong relationship for some years, before the usual life changes separated the communication channel.

As for the music, my review above holds court. Obviously I'm biased, though I feel my observations are objective. The music can be dense at times, not unlike Van der Graaf Generator. Which of course leads to more revelations per each listen. Bill Pohl's gliding style recalls Allan Holdsworth. A good friend of mine from high school, that I introduced to Kurt and Bill (and is also thanked in the liner notes), told me once that Bill is an incredibly talented guitarist, like none he witnessed before (they occasionally played together as well). This from a guy who criticized everybody. High praise indeed. Kurt Rongey's piano playing demonstrates his formal classical education. Incidentally he is also a DJ and Program Manager at DFW's sole Classical station WRR. I somehow missed this, but Bill is now in Thinking Plague and lives in Fort Collins, about two hours north. I should get up there for a visit.

I never corroborated this, but I'm also certain the band acquired the name from an old Rockford Files episode. We were all fans of that show, having absorbed the reruns that played constantly in the DFW area throughout the 80s. I think it was on the pilot that Jim Rockford noticed an advert in the paper to see a band called The Underground Railroad. That's awesome if it's true.

Ownership: 2005 Long, Dark Music (CD). Eight panel booklet with lyrics, recording details, artwork, and photos.

7//05 (acquired / review); 12/15/25 (update)

Also own and need to review Through and Through.

12/15/25 (new entry)

The Velvet Underground ~ USA ~ New York City, New York

Loaded (1970)

After being underwhelmed with the third album, I was curious how the follow-up would stack up. Especially considering that it, too, was a pivot from the previous effort. I'd read that it was a more poppy effort, which sounded promising to me given the blasé of the self titled album.

Leave it to the American music industry's "confused year of 1970" to even trip up The Velvet Underground, who were completely rudderless by this point. One of the most experimental bands of the American underground had released a quiet folk album, followed by a real shot at AM / FM radio. Whether they were cynically trying put an album "loaded" with hits (according to urban legend, that's where the title comes from) - or it was a sincere attempt at reaching a larger audience, we'll never know.

For my tastes, this is considerably worse than The Velvet Underground, and I obviously wasn't impressed by that work either. Reminds me of The Rolling Stones in many places, not a comparison I've read too much. Apologists are out in full force for this title, talking about how amazing the songwriting is, and it rates as the 44th best album for 1970 on RYM. The liner notes of the booklet echo this sentiment. As I said about the 3rd album, I feel a lot more work goes into appreciating this album than others that are more deserving of that time and effort. Oh well, we'll put this in the Van Morrison and Bob Dylan category, and walk away with the "he doesn't get it" tag. I don't.

Unlike The Velvet Underground bonus tracks, the ones on Loaded are largely similar to the album proper. 'Ocean' is a noticeable highlight, and sure enough, John Cale plays organ and viola on it. Should have been included on Loaded.

Ownership: 1995 Polydor (CD). Peel Slowly and See box set. Nine bonus tracks.

12/16/25 (review)

 

The Velvet Underground (1969)

I had no intention of listening to The Velvet Underground today. But yesterday I found the 5xCD box set for 69 cents (in mint shape no less). I already have the first two in the collection, and I'll revisit those at another time (one is recent, see below). But I've never heard the next two, nor any archival material. I know they are radically different than the two I'm familiar with, but still are highly regarded. Let's see how the 1969 album goes, and I'll go for the other two in the following weeks.

My cynical side tells me that if this wasn't a Velvet Underground album, no one would give a rats about it. But then again, there really wasn't that much like this in the late 60s either. It's almost a throwback to the Greenwich Village folk scene from the early part of the decade. However it has this loner approach, that wasn't to find its audience for another 20 years. It's so different than what had transpired prior you wonder why they didn't just rename the band. Truth of the matter is, The Velvet Underground weren't all that popular in their day. They were more famous than profitable, and none of their albums charted high, if at all. It wasn't until many years later that they found their audience, long after they were an entity. I'm not really a folk nut, much less a lo-fi indie guy. And that's where this album sits. The great exception is 'The Murder Mystery', a lengthy track that hints at what could have been a successful 3rd avant rock album. I do think people work much harder at appreciating this album than they would for some unknown during the same era. RYM, for their part, has this as the 5th highest rated album for 1969. Completely absurd from my vantage point. Would I keep this album were it not part of the box set? Nope. No chance. At least I won't be tempted to keep an original LP if the situation presents itself.

The bonus tracks are primarily culled from the VU outtake comp from the mid 80s. The studio selections were recorded a few months after the album above. They are much more upbeat, with a blues, garage, and psychedelic focus, recalling the earlier sound of the band.

Ownership: 1995 Polydor (CD). Peel Slowly and See box set. Eight bonus tracks.

12/1/25 (acquired / review)

 

White Light / White Heat (1968)

The Velvet Underground's second album is most fascinating to me on how far MGM / Verve were willing to take things in the late 60s. Considering they also had Zappa / The Mothers in the ranks too. This album is as underground as anything ever released in America on a major label - thinking competition would be from RCA's Friendsound for example. Side 2 is just insane really.

I'm also very intrigued by what is considered highly collectable today versus what isn't: Subversive disposition. Whether it be jazz, psychedelic, folk, rock, country, or metal - the less regard one has for civilized society, the more desirable the LP. Especially from the 1950s and beyond. Anything that's mainstream and wholesome has almost no intrinsic value. Doesn't matter what color you are - or race or religion - just be sure to stick it to the man somehow, someway. Sometimes I wonder if the 50 cent records of today will be highly sought after in 20 years (especially after guys like me basically give them away, or even have to toss), and records by groups like The Velvet Underground will all be worthless (or illegal - hey you never know!). Universal consciousness is cyclical. White Light / White Heat is as rebellious as it gets.

Ownership: 

1968 Verve (LP). First pressing. 

1995 Polydor (CD). Peel Slowly and See box set.

1985 (reissue LP acquired); 1995; 4/3/21 (original LP acquired / review)

Also own and need to review: The Velvet Underground & Nico; Peel Slowly and See (archival disc).

4/3/21 (new entry)

Nektar ~ England

Recycled (1975)

I've referred to this album a couple of times in my reviews below. Essentially Recycled is a progressive rock comeback album, done at a time when such things would have been rare. It was to be a one-off relapse, as it were, and a darn good one at that. Starting with a symphony of tympani, Nektar makes no bones about the fact that they intend on going all-in for prog rock for the memories. Side 2) takes on an earlier outlook from the band, exploring space rock themes with a touch of funk, giving its only nod to commercialism. 

Ownership: 1975 Bacillus (LP). Poster insert.  

1992 (Passport LP acquired); 12/31/12; 11/19/15 (Bacillus LP acquired); 12/16/25 (review)

Journey to the Centre of the Eye (1971)

Given that Nektar were formed in Germany and the imagery they put forth on their debut, I have a tendency to lump this album in with Krautrock. As I mentioned on Emtidi's Saat album the other day, you know Krautrock when you hear it. And Journey to the Centre of the Eye isn't it. Later albums are more obvious on this front (being more overtly progressive rock), but the debut is more experimental. In a similar way that same era Pink Floyd and Hawkwind are. This is space rock through and through. Perhaps to its detriment. Some of the downtime portions could use some of that Krautrock atmosphere that's missing. It's still a darn good listen with 'Burn Out My Eyes' being a particular highlight. In fact Side 2 does overshadow the flip, leaving a strong impression afterward. Before last night, I would have argued that Journey to the Centre of the Eye is my favorite Nektar. Something tells me one of their next two will be now.

CD includes their 1972 single 'Do You Believe in Magic' and '1-2-3-4'. Both good tunes but not enough to keep the CD for. Both of these were extended on the Sounds Like This album.

Ownership: 1972 Bacillus (LP). Gatefold. 

1//88 (LP acquired); 2/13/07; 8/26/23 (review)

Down to Earth (1974)

As with Magic is a Child, I hadn't actually heard Down to Earth until now. Or I probably did in snippets and walked away in disgust. This is exactly the type of album that would not have appealed to me at age 21, or 31, maybe even 41. But at 51, I hear it in a different way. Managing expectations is everything, and it's not unreasonable for someone to approach this expecting to hear the sounds of the album before (Remember the Future) or after (Recycled). In fact, the latter album probably has more to do with the negative impression in modern times, since it was rare for a band to make a "comeback" like that in the 1970s. Just about every progressive rock band found their way to commercialism over time. 1974 was perhaps a bit early to jump the shark as it were, but in retrospect this album was actually ahead of its time, though I'm sure audiences back then were quite baffled by it. So in the end, had the band renamed themselves Ratken for this album, it probably would have been received better.

And after hearing it intently, I was quite surprised at how progressive it actually is. It's tighter and doesn't possess the long stretches of progressive space rock, so on the surface it seems less complex. 'Nelly the Elephant' is startling in that it sounds more like a horn rock track from 1970. It reminded me of the UK band The Greatest Show on Earth actually (circus themes?). 'Early Morning Clown' wouldn't be out of place on a Jonesy or Fruupp album. And 'That's Life' sounds like an outtake from Yes' Fragile session. In fact, only the relatively dull song 'Little Boy' ended up being a slight disappointment. This is a very good album to my ears, and I suspect will always be misunderstood. I can see I'm of the minority opinion on this one. OK, fair enough.

Ownership: 1974 Bacillus (LP). Gatefold. Quad. 

1/23/16 (CD acquired / review); 8/5/23 (LP acquired)

Magic is a Child (1977)

Well, believe it or not, I'd never heard this record until now. And probably never would have, were it not a throw-in to another LP deal I just purchased. Good thing. Had I heard this 30, or even 20 years ago, I would have dismissed it out of hand. But with my ears today (oh these ears, I tell ya...), I hear exactly what Nektar was going for and honestly they did a great job at it!

And what they were going for was FM radio airplay. For whatever reason, the radio guys didn't feel there were any hits here. But I disagree, as seven out of the nine songs here could have easily caught on with the 1977 crowd. So yes, Nektar are a long way from their (recent) progressive rock past - and even further from their space rock roots. But this is still some fine sophisticated AOR, or what we used to call "pomp". A precursor to the neo-prog (later interpretation of said movement) sound honestly.

Good album if bands like Styx, later Starcastle, City Boy, and others of its ilk appeal to you.

Ownership: 1977 Polydor (LP)

12/6/15 (LP acquired / review)

Also own and need to review: A Tab in the Ocean; Remember the Future

Also once owned Man in the Moon.

Nektar reformed in 2001 and have released an impressive seven albums since. Mostly to middling reviews, though my curiosity remains piqued. 

12/6/15 (new entry)