Radio Massacre International ~ England

Emissaries (2005)

---Oct 2005

What an outstanding release this is! RMI had hit a bit of a rut in my opinion, starting with Planets in the Wires (ED: since rectified - see review below). All their (proper) albums are good, but they were missing some oomph recently. This has some amazing sequencer, mellotron action. Some real drums and pulverizing guitar add to a great album. Their best in a long while.

---2/16/26

And it's been a long while since I heard this - as in the day I received it 20+ years ago. As pointed out elsewhere, I loaded up on Berlin School albums in 2005, so the fact I was offering high praise to Emissaries in that same year is notable, given the huge potential for overload.

Radio Massacre International were an unusual choice for the avant prog focused Cuneiform, but it proved to be a fruitful relationship that lasts until this day. Emissaries is RMI's debut for the label. And a whopper at that, a sprawling two full CDs. The first CD is a studio recording while the second is a live concert in Philadelphia.

What does one seek to hear on a Berlin School Electronic album? The creativity of sequences, the texture of sounds, the atmosphere, and the melodic songcraft. As a bonus, if one gets more analog non-keyboard instrumentation, especially electric guitar and drums, then you probably have a winner on your hands if the groups executes on all the above.

And that's exactly what Emissaries does. The band also adds a few brushes from the style palette. This isn't 1977 Tangerine Dream emulation, as they might have done in the past. Though there's no mistaking their Berlin School roots, one gets to hear an almost progressive rock approach to the compositions. The second disc is looser in structure and there are many cosmic blues segments created by the guitar.

Two hours and 16 minutes is a lot of music to absorb. RMI are to be commended for keeping it varied throughout so as to not be a monotonous listen. I'm guessing my initial enthusiasm came from that perspective, as it was a deviation from the norm. There are more moments of dithering about than I had realized on initial impact. Now I'm not so sure this is a top tier RMI release. Certainly it's a keeper for now, and once all of my RMI collection has been heard, I should be able to discern what are the best titles for me to keep.

Ownership: 2005 Cuneiform (2xCD). Booklet includes liner notes. There's also a comic strip in .pdf that I have yet to view. Acquired in 2005.

10//05 (notes); 2/16/26 (review)
 

Republic (1996)

---2006

It’s been awhile since I’ve listened to any Radio Massacre International, and even longer on the earlier ones that got me hooked initially. I think Republic is the first one I bought in 2001 and started me on a tear of picking up retro Tangerine Dream style bands from the UK (Red Shift, AirSculpture, Arc, Under the Dome, Arcane, etc…). Tangerine Dream laid out an interesting framework from Phaedra to Encore, one that wasn’t copied by anyone, including themselves, for over 20 years. There were some mild attempts, usually by solo artists (which is near impossible to do – you need the synergy of at least two people to accomplish some interchange of ideas). Then finally some of the groups I mentioned above started getting serious about it. Another key ingredient is the use of analog synthesizers (Moogs, VCS, Elka, Mellotron). What I like is that RMI and the others don’t exclusively go retro and will use modern technology to their advantage. But they didn’t abandon the past either. Then there’s the development of each piece. No cruise control sequences for these guys, they’re always twiddling knobs and adding / reducing sounds as they go. Just sit back and watch the world go by. Here’s your soundtrack.

---12/1/25

Another album I haven't documented in the UMR era, even though I snuck in one listen in 2014. Not that my viewpoint has changed in the near 20 years since that review. Some more detail though. There's only three tracks. Each over 20 minutes, filling up the entire CD. It doesn't start off in bombast mode however. The opening track is a slow buildup, with plenty of sequencers and mellotron to set the tone. 

The second composition is similar, though the sequencers become more powerful about eight minutes in. And then you can hear that the guitar is gearing up to let loose. And then he does just that, with roaring synthesizers in the background, at the same moment they unleash the dark choral mellotron. That combination is a tough one to beat, no matter what genre of music you're hearing. This piece gets very intense in places, like we hear from Tangerine Dream on their archival live releases from 1977. The ending of this incredible track sounds more like Heldon than T. Dream.

Not to be outdone, Republic then goes into that same dark cavern with a lake, as I describe on my Rubycon review. Choral mellotron defines the haunting mood. The question becomes, are we going to exit along the river or stay there forever? The sequencers then begin to provide the light so we can see our way out. Optimism is reflected in the flute tapes of the mellotron. The pace of the sequencers continues to increase. By the 19 minute mark everything is louder and more intense. For the last six minutes we have a chance to reflect on all that has happened.

If you're going to get into Radio Massacre International, then I'd suggest Republic to be at the top of your list.

Interesting to note, this album isn't listed in ProgArchives though most of them are. This is one of their landmark albums, so a strange absence for certain.

Ownership: 1996 Centaur (CD). Acquired in 2001.

2001; 2006 (review); 12/23/14; 12/1/25 (update)

Planets in the Wires (2001)

According to my database, I have accumulated 14 RMI albums to date, and sold one (Zabriskie Point). Too much of the same thing you ask? That's kind of where my head was at going into this listen. Of all their albums that I do own, I've held this one with the least regard.

Now I'm not so sure of that assessment. I will say that it is too long, and the 75 minute length could have been trimmed by 20 minutes, easy. Some of the lengthy "ambient" sections don't add much to the recording and get away from what Radio Massacre International does best: Essentially copy Baumann-era Tangerine Dream. But once the sequencers begin to roar and Gary Houghton begins to wail on his guitar similar to Edgar Froese, well it sure is hard not to appreciate the contents within. I probably do have too much of this kind of stuff. Where to draw the line? I dunno - kicking that can down the road some more. I have other fish to fry.

Ownership: 2001 Northern Echo (CD). Acquired in 2002.

2002; 6/24/22 (review)

Solid States (2003)

Solid States is made up of four live and studio concerts during November of 2002, performed in both Philadelphia and the Los Angeles area. This is one of Radio Massacre International's more psychedelic releases, and that's primarily due to the abundance of electric guitar. Basically what we have here are long journeys of Berlin School electronic music with fat analog sequencers, mellotron, and loud acid guitar solos. If this sounds like Encore-era Tangerine Dream, including the concerts-in-the-USA theme, then yes, you have tracked the scent indeed. One cannot possibly get enough of 'Coldwater Canyon' in my book, and here you'll swim in roughly two and a half hours of it. Essential.

Ownership: 2003 Northern Echo (2xCD). Acquired in 2003.

2003; 5/26/16 (review)

The God of Electricity (1994 / 2000)

In effect, The God of Electricity is Radio Massacre International's earliest album, though not released until 2000. The album was recorded throughout the summer of 1994, and later pieced together, which is a bit different than the normal RMI protocol. It's a darker work, with synthesizers dominating the proceedings even more so than later in their career. The sequencers remind us once again that Baumann-era Tangerine Dream is the blueprint for all future RMI recordings. The God of Electricity is yet another excellent album from RMI, though I wouldn't recommend it as a starting place. Better to try their actual debut Frozen North to get the true Radio Massacre International experience.

Ownership: 2000 Centaur (CD). Acquired in 2001.

2001; 11/1/16 (review); 4/3/25 (update)

Septentrional (2006)

Radio Massacre International have to be viewed as one of the most innovative of recent groups. Certainly within the electronic music space, a field that has the same devotion and non-wavering loyalty to sub-genres as does heavy metal. You're either "Berlin School" or "Ambient" or "Techno" or any other such labels, but you shouldn't be all of them - say many fans. RMI, who started out pretty much strictly "Berlin School", are now all the above and more, with recent excursions into tripped out Krautrock, and whatever else they feel like doing. Septentrional is one of their most polarizing CD albums (their privately released CD-R's are even more controversial). Produced by Ian Boddy, and released on his DiN label, Septentrional is RMI at their most modern and cutting edge. But in a paradoxical way. See, Septentrional has more of that ancient mellotron than any of their other albums. Of course it's put through the production grinder and is echoed, techno'd, phased, manipulated, and ultimately tortured through Boddy's mad scientist lab. It's all rather fascinating. Headphone music for the modern age. If looking for just one composition to leave your jaw hanging, may I suggest 'Trident', which is truly a beautiful thing to hear and behold.

Ownership: 2006 DiN (CD). Acquired in 2008.

2008; 10/18/15 (review)

Frozen North (1995)

It all starts here for Radio Massacre International (RMI). That most creative English band that almost single-handedly brought back the Berlin School trio format back to prominence. All three perform on a raft full of analog keyboard equipment (yes, of course, mellotron, Moog's, etc...), while one doubles up on electric guitar. Sound familiar? Sure it does. So if you're looking for about 20 more quality albums from the glory days of Tangerine Dream's "Virgin Baumann years", well do I have good news for you! Not that RMI was content to just sit in that same zone, as many of their albums followed other trends of German Kosmische, but primarily RMI were all about sequencer and atmospheric mid to late 70s Tangerine Dream. And the double CD Frozen North is the perfect place to start (if you can find it that is - I bought mine not long from its release date). We are talking two hours and 15 minutes of Encore meets Rubycon era Tangerine Dream. Not a mere copy, but yet a completely unique take on a classic sound. To say it is essential for fans of Berlin School elektronik music would almost be understating the matter.

Ownership: 1995 Centaur (CD). Acquired in 2003.

2003; 12/21/14 (review)

Knutsford in May (1997)

The hardest part about writing on Radio Massacre International, is that they have so many doggone great albums, it's near impossible to determine what is great from what is really great. If you're a fan of the Berlin School of electronic music (Tangerine Dream, Klaus Schulze, etc...), and you like sequencers, mellotron and electric guitars (and even real drums on later albums) - then do not wait another second - don't walk, but run out, and buy at least one RMI album. You almost cannot go wrong, though as I said in the prelude, there is a bit of separation on their respective titles. Knutsford in May is one of their can't miss titles for fans of the genre. This one has more than its share of mellotron and guitars, and while listening to this you'll feel like someone dropped you into Edgar Froese's studio circa 1975. RMI have completely mastered the style, and if you're looking for a starting place - Knutsford in May is as good as any.

Ownership: 1997 Centaur (CD). Acquired in 2001.

2001; 10/10/06; 5/17/11 (review)

Rain Falls in Grey (2007)

As stated in my review for Septentrional, Radio Massacre International are one of today's most innovative groups. Case in point: Rain Falls in Grey. On this outing, RMI pay their respect to Syd Barrett. Musically this is RMI's most overt space rock effort, with raging electric guitars, and ferocious drumming. As well, RMI have successfully created those magical atmospheres that one would typically find on an old German Ohr release, who themselves were enamored with late 1960's Pink Floyd. This being RMI, one is never too far from classic mid 70's Tangerine Dream, and the combination of the early Krautrock sound with "Berlin School" electronics is highly fascinating. After a bit of a lull at the beginning of the decade, RMI has created a triumvirate of classic releases starting with Emissaries. Each represents an entirely different sound. Rare is this kind of innovation found, much less from a band whose recording history was almost 15 years old by this point.

Ownership: 2007 Cuneiform (CD). Acquired in 2008.

2008 (review)

Other albums I own and need to review: Organ Harvest; Borrowed Atoms; Upstairs Downstairs; Walking on the Sea; Time & Motion

And they have tons more than this, especially when one considers all the downloads and cd-r's.

5/17/11 (new entry)

Octopus ~ Germany

The Boat Of Thoughts (1977)

The Sky label was originally founded by a former Brain label executive, and their early roster of bands focused just as much on progressive rock as it did electronic music. The latter more representative of the label in future years, and its overall legacy. Octopus were one of those early prog rock signings.

With history on our side, we can hear that Octopus were very much part of the German prog rock scene of the mid to late 1970s, most of them released on private or small labels. In this scenario, Octopus would have been one of the more successful bands by the sheer fact they were on a label with some marketing muscle. The bigger prog names of the day, many of them on the aforementioned Brain label, included Jane, Birth Control, Eloy, Grobschnitt, Amon Duul II, with up-and-comers like Anyone's Daughter on the horizon. Within these parameters, the music of The Boat Of Thoughts becomes familiar. The two distinguishing traits of the album would be: 1) The decidedly melodic approach, including some beautiful guitar and synthesizer work. It's here that we notice more of a Camel-like approach rather than the expected Pink Floyd. And 2) the vocals of Jennifer Hensel. Generally female vocals were only heard on the folk rock or Christian oriented albums. Hensel's approach is more from an aggressive earlier era, like Tomorrow's Gift or Frumpy. If the music was drenched in early 70s instrumentation, then this could be considered a late era addition to my "Post Psychedelic, Proto Progressive With Female Vocals" RYM list. Take her out of the mix, and the band Trilogy of Here It Is fame comes to the fore.

If one were to absorb the reviews out there, you could be forgiven to think of The Boat Of Thoughts as a mediocre to poor effort. I cannot agree with that whatsoever. Highly melodic progressive rock always has a place here with Genius Hans.

Ownership: 2009 Sireena (CD). Booklet with historical liner notes in English and German. Acquired in 2010.

Former ownership: 1977 Sky (LP). Acquired in 2000.

2000; 5/19/09; 3/7/10; 2/16/26 (review)

At one point I owned An Ocean Of Rocks. I need to hear it again. Also intrigued by the archival The Lost Tapes (1974) that came out a few years ago.

2/16/26 (new entry)

Michal Urbaniak ~ Poland

Paratyphus B (1971)

I'm largely ignorant of Michal Urbaniak's extensive canon of work, though I've been aware of him since I started crate digging in the middle 1980s. Some like-minded friends were into him, though I never pursued in earnest. I recall very little about his music that was played for me back then.

As I listen to Paratyphus B, I can understand why I probably didn't pursue. You really have to be in the mood for stuff like this. Released only in Germany on the Spiegelei label, you can hear the avant garde jazz of the era almost immediately. Urbaniak provides a very adventurous type of electric violin, miles away from the likes of Jean-Luc Ponty. On the final track he plays the saxophone in similar fashion. Future wife Urszula Dudziak is very much into scat singing, and she is at once energetic and atmospheric, occasionally at the same time. Electric piano also gets a workout. The three piece rhythm section rounds things out. 

This title is a bit rough for my ears. The melodic jazz parts work really well in this setting, but it gets very noisy in places that I don't find pleasant or comforting. Not sure how this CD set will turn out. Depends on where I land with the other recordings. I don't mind owning music like this, as it provides a stark contrast, just not too much of it please. More to come.

Ownership: 2023 Made in Germany (3xCD). Part of Sound Pieces. Tri-fold digipak with historical liner notes inside the digipak. Obviously mastered from vinyl (or a noisy tape). Acquired in 2026.

2/9/26 (review)

Also own and need to review: Inactin; Live at Lila Eule

Also once owned: Body English

2/9/26 (new entry)

Flamen Dialis ~ France

Symptome - Dei (1979)

---7/30/18

A very unique album - one that inspires polarizing reviews. In spirit, Symptome - Dei seems very much like an Edgar Froese solo album - except it's not really an electronic album per se. Nor is it a type of progressive rock or folk. Avant prog? If taking the name literally, then yes. But not for what the genre has come to mean, not even close. This is a very spacious music, created mainly with mellotron and percussion. Symphonic sound sculpture? Whatever it is, I quite like it. 

---2/9/26

The notes above were penned for a journal entry that remained unpublished. So Flamen Dialis makes its UMR debut here. This is an album I've had in my possession for 30 years, though I'm still largely unfamiliar with the contents. Mostly from the imagination of Dominic Le Gallic, he gathers no less than seven others to join him on his journey. Though it seems natural to categorize the album as part of the electronic genre, it offers too many diversions to fit comfortably in that space. The spirit of exploration is very much alive on Symptome - Dei. Elements of Fille Qui Mousse are apparent, without the annoying free improv bits. The music is from another era, that of the early 1970s. When I made the Froese solo reference, I was thinking very much of the mellotron use. Symptome - Dei is absolutely drenched in it, similar to Froese's Macula Transfer in that way. The interesting phenomena about this album is it's actually melodic. Most of these type of albums tend to go tuneless in a rush to create cacophonous noise. This is miles from the Fred Frith / Tim Hodgkinson mindset. Franco Battiato is an artist that is sometimes referenced, and his early experimental works surface here as well. As I concentrate on the music, one can hear the brilliance that is Algarnas Tradgard, minus the psychedelic jams. Had this been released in 1972, perhaps those psych moments would have been in here too. One of a kind for certain. Where to place in the collection? In the same cube that stores albums on the Ohr label, for example.

The CD adds their 1978 single. Both sides are excellent, and demonstrate more of an ensemble effort. Would have loved to hear more from this era of the band.

Ownership:
1979 FLVM (LP). Acquired in 1996.

2004 Mio (CD). Booklet with liner notes in English and French. Two bonus tracks from a 45. Acquired in 2004.

1996; 2004; 7/30/18 (notes); 2/9/26 (review)

According to the liner notes, there was a 45 single released in 1971 as the Yecta Plus Band, which was the ancestor to Flamen Dialis. I've spent a good amount of time searching for this record, including asking other like-minded collectors. Never for sale on ebay, Discogs (nor listed), catalogs, etc... Nothing has turned up. I'm guessing it doesn't exist, or at the very least, it wasn't released to the public or even as a promo. Perhaps an acetate exists. Would love to hear it, if true.

Didier Le Gallic resuscitated the Flamen Dialis brand name for two more albums in the 2010s, which I've not heard.

2/9/26 (new entry)

The Headhunters ~ USA

Survival Of The Fittest (1975)

My CD emphatically states "THE Best Space-Funk Album". No room for negotiation, you just have to accept that premise. Funny to see that from a major label reissue.

Formed by Herbie Hancock, though he isn't a participant, The Headhunters go about making a funk album with a heavy jazz component, most notable in the free-ish saxophone playing from Bennie Maupin. Blackbird McKnight's guitar is more subdued here than on Straight From The Gate, except on B3 where he finally lets loose. There's more than a nod to the same sound Embryo and Missus Beastly were pursuing in Germany during this era. My favorite cut is the atmospheric flute / funk rhythm of 'Rima'. While Maupin has the burden of holding up these compositions, my MVP vote goes to bassist Paul Jackson, who puts the "funk" in this album.

Yea, I think I can go on record here and debate the CD's declaration of Best Ever Space Funk album. Regardless, it's still a fine effort in the style.

Ownership: 2025 Music On CD (CD). Essentially a repress of the 2001 Arista / BMG France release. Acquired in 2026.

2/9/26 (review)

Straight From The Gate (1977)

A mix of hard hitting instrumental jazz fusion and funky vocal numbers. They succeed on all accounts. Some great guitar from future P-Funk member Obsidian Blackbyrd.

Ownership: 1977 Arista promo (LP). Acquired in 2024.

7/3/24 (notes) 

The band reformed in 1998 and have released five new studio albums since. Haven't heard any of them, but if I do, I'll report back here.

2/9/26 (new entry)

Protos ~ England

One Day A New Horizon (1982)

---2006

Sometime around 1992 or so, England’s Record Collector magazine had an article on the rarest UK items ever. For the 1980 decade, Protos was named #1. And their over the top praise of it made me put it at the top of my curiosity list – where it remained for 14 years. Then out of the blue I hear from Rory Ridley-Duff, who was the keyboardist, and he obtained my info through the reissue website. We start a dialog and before you know it I have a cd-r copy of Protos at my doorstep. The only other album I know on the Airship label is Gemini’s Counterbalance, and I did get a cassette copy of that rather quickly after learning of it. Not surprisingly, Protos album has a similar vibe and feel (i.e. underproduced, with lesser quality equipment). However, whereas Gemini is more melancholic and straightforward, Protos is very much a complex effort – like an instrumental Yes during their classic period. But played with early 1980s equipment. I really can’t think of anyone doing this kind of progressive music in 1982 – closest might be The Body Album. Or Sweden’s Autumn Breeze minus the vocals. This was during the heyday of the NWOBHM movement. So wonderfully out of touch this is.

---2/9/26

And that was my last listen, a few years prior to UMR. On this session I'm getting more of a Camel vibe rather than Yes. The Enid is also a good guidepost. The wonderfully-out-of-touch reference above is spot on, as Protos were existing in their own world. While influenced by the 70s, it's not born from it. The music belongs to the cassette culture of the early 80s, where anything and everything goes. The knee-jerk reaction would be to place Protos in the middle of the New Wave of British Progressive Rock movement. However, Protos does not play in that tight, urgent manner we hear from those bands. And the music of Genesis is hard to find here. These guys were following their own lead, and were likely headstrong in getting this out on vinyl in the first place. The amateurish nature of the recording, especially considering the primitive digital keyboards, is more in vogue today than it was in 1982, much less in 2006 when this was reissued. One of those strange forward-looking from a backward-disposition albums.

I didn't mention the live tracks from 1982 and 1983, but they are a worthy bonus additive. The recording quality is from the audience, but is mostly listenable with obvious mastering flaws later in the set. It features four of the tracks from the album plus three others, one original and two are covers from known prog entities.

Ownership: 2006 private (cd-r). This version was put out by Rory Ridley-Duff. It's unique in that the seven live bonus tracks are not to be found anywhere else. This is different than the cd-r Discogs shows. It sports a different front and back cover; has different live tracks and an additional guitarist as well. I'll add it to the site soon. There also exists a manufactured CD that includes two studio tracks not on the cd-r but without the live tracks. Acquired in 2006.

2006 (review); 2/9/26 (update / new entry)

Flotsam and Jetsam ~ USA ~ Phoenix, Arizona

No Place For Disgrace (1988)

I figured it wouldn't be too long before I became reacquainted with No Place For Disgrace, and that day has finally arrived. I talk about this album in the Doomsday For the Deceiver review as being the only real time exposure I had to Phoenix's finest Flotsam and Jetsam.

This was the era that was transitioning from straight up thrash to more progressive realms, in particular the technical metal movement, sometimes known as progressive thrash. I remember being pleased with the album upon first listen, but as time went by, I began to hear it as more ordinary thrash. Today the phrase "ordinary thrash", especially from the late 80s, is a much welcomed guest. I was rather certain I would enjoy this album far more than my contemporary rating suggested. And that prophesy has held true.

The opener packs a wallop, and I think even when I was at my lowest point with the album, I would concede it was the highlight here. No Place For Disgrace catches the band at the professional Metallica level, perhaps two years too late to truly cash in, but certainly a great addition to the second wave of bands coming through like Testament and Death Angel. It's definitely heavier than their debut, and arguably more technical. The songwriting isn't quite at the Metal Church level, but it's certainly thought through. Listen to 'Escape From Within' as but one example. This isn't bonehead metal in the slightest. I think a few more curveballs per track would have placed them at the vanguard with the more proggy thrash bands of 1988. Regardless, still an excellent representative of 80s thrash.

Ownership: 1988 Elektra (LP). First acquired in 1988. Reacquired in 2026.

1988; 2/5/26 (review)
 

High (1997) 

As noted below: "These are the type of albums I hope to find in a thrift bin CD pile." And here we go! I only knew the first two F & J albums, and I documented Doomsday for the Deceiver below. High is their 6th album released at a time when thrash was completely out of vogue. As such there are some trendy groove metal insertions. Eric AK isn't screaming anymore, sounding more like Hetfield during this era. Plenty of wah wah pedal bluesy solos and stoner rock moves. Back cover shows song titles using famous band logo fonts (Iron Maiden, Judas Priest, Metallica, Van Halen, etc...), but it doesn't appear the music matches the style of these bands. In any case High is fairly ordinary heavy metal, an all too common problem for the late 90s. It's good, but nothing more.

Source: 1997 Metal Blade (CD)

8/29/23 (review)

Doomsday For The Deceiver (1986)

My only exposure to Flotsam and Jetsam real time was No Place For Disgrace (1988), an album I picked up and enjoyed but it never bowled me over. I kept it for a long time before ultimately letting it go. I wouldn't have done that today, but it's not a big deal. Only in the last few years did I finally obtain a CD of their debut. Of course I knew who the band were back in the day. If you were a thrash metal fan, who didn't? As any dedicated fan knows, this is the album that bassist Jason Newsted debuted on. Within that same year he would famously replace Cliff Burton in Metallica after he died in a tragic accident. But when this debut album was released, it was a rather obscure and typical Metal Blade thrash release, of which one a week were coming out back then. Doomsday For The Deceiver is meat and potatoes thrash. It's not particularly heavy for 1986, certainly nowhere near Master of Puppets. The dual guitar lines are crisp and melodic, and Eric A.K. breaks glass with the best of them. Newsted does show his massive bass chops here, and at times it seems he's the lead instrument. The guitar solos are a slight cut above, as Flotsam and Jetsam always had an ear for melody. As the years roll by, I do get a nostalgia pull out of this era of thrash, so I enjoyed a +1 listen.

This along with No Place are still the only two albums I've heard by the group, and they are still around to this day. These are the type of albums I hope to find in a thrift bin CD pile. Or vinyl in some cases, but of course they are now price prohibitive if paying retail.

Ownership: 1986 Metal Blade (LP). Lyric inner bag. Acquired in 2022.

First copy and since sold: 1994 Metal Blade (CD). Acquired in 2016.

9/1/16 (first listen); 12/23/22 (review)

Flotsam and Jetsam continues to this day with 15 original studio albums under their belt. As noted above, I'd be up for hearing any that have yet to cross my stereo.

12/23/22 (new entry)

Agropelter ~ Norway

The Book Of Hours (2025)

So what is an Agropelter anyway? AI tells us: "A legendary "fearsome critter" from North American lumberjack folklore, said to inhabit hollow trees in coniferous forests from Maine to Oregon. It is depicted as an ape-like creature with a slender, wire-like body and long, muscular arms used to break off and throw branches at loggers." Leave it to the Norwegians to reference an obscure American folklore legend. One I'd never heard of, for certain. No takers for Punxsutawney Phil, huh?

I had been told that Agropelter were exactly the type of retro prog I would enjoy. I was certain that was true, though I have so much of it already, I hadn't pursued the title with earnest. The label owner had a different point of view considering my apathy, and so here we are.

Agropelter are, at this point anyway, an instrumental project surrounding a one Kay Olsen, who is the composer as well as providing much of the salient instrumentation (guitar, bass, organ, synths). He surrounds himself with some prog rock A-listers to ensure a built-in audience awaits. Many guests are on hand to provide anything from grand piano, flute, cello, mellotron, duduk, and beyond. The instrumental palette is rich and wide. 

The opening 'Flute of Peril' brings in that familiar melancholic dark and misty mellotron heavy Scandinavian flair that Jordsjo has so completely mastered. Ah, but we get our first curveball on 'Leviator'. A more direct sound, with synthesizers played in the mid 70s style. An almost American approach, perhaps even Kansas when in their instrumental flights of fancy mode. Or Ethos for a more obscure reference. The synthesizers often recall early 80s Tangerine Dream, a welcome diversion from the usual early 70s recipe. It's no surprise, then, that Olsen name checks Vangelis. The latter when in rocking mode I hasten to add. The other artist Olsen references is Terje Rypdal, and one can here that especially in the bass heavy atmospheric portions. Though, to be clear, The Book of Hours certainly doesn't veer into fusion territory all that much. This is symphonic progressive, true to the meaning of the first word. In fact the rhythms are rather straightforward for this kind of album, once again pointing to an 80s heritage. I'm reminded of many a Dutch band operating in this space. When hearing it in this light, the ghost of Camel appears from the hallowed halls. The Par Lindh Project also comes to mind, especially considering the classical leanings.

Retro prog can mean many things, though it has become a euphemism for the darkened prog that Anglagard started and groups such as Wobbler, Agusa, and Jordsjo have taken forward and further mastered. Agropelter is decidedly not of that branch of the tree. The Book of Hours reminds me of the optimistic time in the 80s when much was still left to be discovered, and yet the corporate world of music was holding most everyone back. There were shoots of green grass everywhere though. Agropelter would have been one of those. Hard to capture that time and place so well, as it was far more subtle than the grandiose and well documented progressive rock scene of the early 1970s. This is one of those niche within a niche albums that is almost always worth exploring.

So yep, as predicted by those in the know: It's exactly the type of retro prog I enjoy.

Ownership: 2025 The Laser's Edge (CD). Digipak with recording details. Acquired in 2026.

2/2/26 (review)

Hopefully this isn't a one off project.

2/2/26 (new entry)

The Rolling Stones ~ England

Their Satanic Majesties Request (1967) 

I'd written about many of the Stones albums (see below), most of them unflattering, and yet I had managed to skip over my favorite one - by far. There are a couple of their classics that I have yet to revisit in modern times, so we'll see if this remains my favorite in the end (probably).

Even though The Rolling Stones are a 60s band in heritage, I don't tend to think of them in that way. They didn't embrace the psychedelic, not like their peers the Beatles did. The exception is, of course, the album I'm listening to now. Many suggest they were just ripping off Sgt. Pepper's, and if so, they most certainly outdid them as far as psychedelics go. Personally I'm of the mind that Magical Mystery Tour captured the Beatles' psychedelic excursions far better than Pepper's ever did. I had fully expected to see this album bolded with a very high rating on RYM, but alas that's not the case. And that's most surely because it veers way off their usual sound. For psych heads, it could very well finish first among them all. But for your average Stones fan, this album is a mere curiosity, even an annoyance.

Some of these tracks get waaaaaaay the heck out there, far more than most albums that have the psychedelic tag next to them. They can be as zonked out as the top classics in the genre. It would have been interesting to see the Stones continue in this manner for a few albums, or even embraced progressive rock. I would have been a big fan in that parallel universe! But instead they pivoted to "roots rock" on their first truly high rated album Beggars Banquet. It wasn't that long ago I heard that album, and I found it appalling (see below). But that's what their audience wanted to hear, and quite honestly, I'm sure that's what they wanted to play. Fair enough, that's who they are, and they made a fortune doing it. Can't argue with that. 

Ownership:

1967 London (LP). Lenticular gatefold. Acquired in 2021.

ABKCO (CD). Mid to late 90's pressing. Booklet replicates the psychedelic inner gatefold. Acquired in 2026.

9/5/21; 2/2/26 (review)

Sticky Fingers (1971)

Continuing on with my 50 cent CD finds is The Rolling Stones highest rated album Sticky Fingers. RYM also has it as #13 for all of 1971, arguably rock's greatest year of innovation. There are four bonafide hits to be found here, so it's one of those albums you already know even if you don't think you do. I'd heard it in full back in college, but the truth remains, I'm just not a Stones fan, and this is not the album that will sway that opinion. 'Sway' is a track here too, hmmm... As is often the case with The Rolling Stones, their charted singles are usually the best tracks. 'Brown Sugar' assuredly is the most famous cut here, and it's one of my least favorites - a track I've had to endure since the first day I dialed into the FM radio. 'Wild Horses' is a nice ballad, not extraordinary though. Hardly 'Stairway to Heaven' but for a band with an attitude like the Stones it does provide nice contrast. 'Bitch' has a good riff and is my second favorite song on the album. The gem of the album though is 'Can't You Here Me Knocking' that is not only the best composition, but they get into a rare jazzy jam while at it. Really the Stones should have done more of that (see 'Time Waits For No One' at the bottom of this post). They certainly had talent, but they kept everything compact and tight for the most part. I remember recording this song from the radio when I was 12. I had no idea it was the Stones until years later. I liked it then, and I like even more now. As for the other six songs here, you can keep them. More of the standard blues to country blues that I suppose their fans ate up at the time, but retrospective reviews aren't as kind.

Source: Rolling Stones Records (CD). Late 80s pressing

3/4/25 (review)

Beggars Banquet (1968)

One of their highest rated albums (4th according to RYM), I haven't the slightest idea why that would be the case. Mostly this is blues, and really country blues. Not where I want to be with The Rolling Stones. Most of their albums have a hit or two, and in this case they are 'Sympathy for the Devil' and 'Street Fighting Man'. Those are my fave two from this set as well, and they're not that hot to begin with. At this point in my Rolling Stones journey, this is the bottom of the stack.

Source: 2002 ABKCO (SACD). Also had the LP once from RT but sold it off before digesting the contents.

2/14/25 (review)

Between the Buttons (1967)

This is the second copy I've had float in here. The first was from a collection buy at the end of 2019. It wasn't in very good shape, so when this much nicer LP showed up in RT's collection, I pulled it aside for another listen. My opinion remains unchanged. I find this album fairly static and boring, and the radio hits here are more annoying than pleasurable.

Source: 1967 London (LP)

12/31/21 (review)

Black and Blue (1976)

Not a big fan of the Stones as it is, but I figured something from this period would have no chance. Boy was I right. This was worse than I expected, and that is a very low bar. Talk about a "throw in" album. Contractual obligation and all that. I guess the guitar audition aspect is its only redeeming factor. My least favorite along with Beggars Banquet.

Source: 1976 Rolling Stones (LP)

7/17/21 (review)

Goats Head Soup (1973)

Earlier recording and a little bit better than the above. Still there's nothing here that I would want to return to. Side 1 is average and Side 2 is disappointing. The big hit here is the ballad 'Angie', a song I could go a lifetime without hearing again.

Source: 1973 Rolling Stones (LP)

7/18/21 (review)

Out of Our Heads (1965)

This is clearly their transition album from Chicago blues to psychedelic and hard rock. Here's where you'll find 'Satisfaction' (on album), as well as 'The Last Time'. The Jagger / Richards originals are much better than the covers. It seems they weren't quite ready to take off the training wheels just yet.

Ownership: London (LP). 70's pressing. Acquired in 2021.

4/12/21 (review)

Emotional Rescue (1980)

This is the second copy of this album I've found in the last couple of years. I forced myself to listen to it all the way through. I don't remember one thing about it. That was last night. Less than 12 hours ago. I can't imagine the allure of this era of the band. As I said about The Who, the albums by the legendary 60s bands coming into the 80s were rarely of note.

Source: 1980 Rolling Stones (LP)

1/21/21 (review)

The Rolling Stones, Now! (1965)

I've been going soft on these early titles, stating that they mostly fall out of my interest area, but I can still appreciate what they're doing. But on this, their 3rd release, I couldn't find much to hold onto. Mostly it's old-timey blues and rock-n-roll. They were still in the midst of the Hit Parade, and hadn't found their unique sound yet. All the same, this isn't for me.

Source: 1965 London stereo (LP)

12/28/20 (review)

Jumpin' Jack Flash / Child of the Moon (1968)

The a) side is almost as ubiquitous as 'Satisfaction'. I'm just not as keen on it. It's 'Child of the Moon' that's the money piece here, at least for us psych fans. I'd never heard it until now. It's not awesome by the way, but pretty good on the whole. The final conclusion though tells me I can live without. 

Source: 1968 London (SP)

12/20/20 (review)

(I Can't Get No) Satisfaction / The Under Assistant West Coast Promotion Man (1965)

If you don't know the A) side you are then a very young person, otherwise an impossible situation. And it really is the draw here. The flip is bluesy rock with harmonica, nothing special

Source: London (SP). Later 60s pressing

12/20/20 (review)

12 x 5 (1964)

Yea, this is too early for me. At this point the Stones are not really the Stones. They're finding their way, playing music that was popular in its day. Blues rock, pop, RnB, mod, even rockabilly! A respectful effort, but out of my comfort zone. 

Source: 1964 London (LP). This was a unique pressing that I added to Discogs and since sold.

12/5/20 (review). I just realized the day I heard this. How crazy is that?

Aftermath (1966)

OK, so this is where 'Paint it Black' comes from. If I were to name my favorite Stones song, this would probably be it. 'Under My Thumb' also appears here. Usually that track ends up being covered somewhere, and never that great.  But this version has an odd jazzy feel that I like. But mostly the album is blues rock, and for certain ahead of its time, including the eleven and a half minute closer.

Ownership: 1966 London mono (LP). Acquired in 2020.

11/29/20 (review)

It's Only Rock N' Roll (1974)

Well I'm sure it comes as no surprise that I have very little use for the Stones. I do need to spend a bit more time with their 60s work, but to date, I can't really stomach any of their 70s / 80s albums. And this is no exception. However.... there is one great track that I couldn't believe was the Rolling Stones. A jazz rock number called 'Time Waits For No One'. A great six and a half minutes buried in the middle of this teenage wasteland. All these years, and I never once heard this on the radio. 

Source: 1974 Rolling Stones (LP)

10/9/20 (review)

I'll keep reviewing them as they come in, though some of the later titles will get skipped over.

2/16/25 (new entry)

Spirit ~ USA ~ Los Angeles, California

The Family That Plays Together (1968)

Right from the beginning you'll hear one of Spirit's classic anthems 'I've Got a Line on You', harkening back to their strong songwriting skills displayed on the debut. Released at the tail end of 1968, Spirit demonstrated they were ahead of their time (especially in the US), eschewing standard hippie fare, embracing the psychedelic with a jazzy, and even progressive rock, slant. Unlike the debut, there are no extended pieces.

As with Blue Oyster Cult, your interest in Spirit's individual albums will fall squarely on whether or not you like their songs, rather than sophisticated arrangements or highly technical solo instrumentation. I'm not too keen on A6 or B4, but otherwise I find The Family That Plays Together a pleasant listen.

I love that respected jazzer Marty Paich was involved with these guys in their early days. Clearly Ed Cassidy's influence there. As with Sabicas and Joe Beck, you don't usually see that kind of generational interaction in the early days of rock. Though Spirit were built that way from the beginning.

The five archival bonus tracks are more instrumental in nature, and mellower. They're very much in the same style as the album, especially within the jazzier spectrum (recorded near the same time). I found that any one of these would have resulted in a slight upgrade to the album proper.

Ownership: 2010 Ode Epic Legacy Europe (5xCD). Original Album Classics. Acquired in 2021.

10/24/21; 2/2/26 (review)

 

Spirit (1968)

After the original insane lockdowns of the pandemic, the magnanimous government of Colorado "let us" have a bit of our freedom back. So glad we live in a free country. A teaser of the communism to come I guess. Hey, it wasn't safe. Ya-huh. In any case, as soon as I could go to estate sales and thrift shops, I did. With my stupid mask on. 

I bring this up on the Spirit post, because for whatever reason, the first LPs I was finding right away were from them. Most not in the best shape. A year later (still under some sort of edict), I found the five CD Original Album Classics series, and I sold off the LPs, and that was the end of my initial Spirit exploration.

Except I didn't document any of those listens, beyond some brief notes for Clear. The exception to my Spirit renaissance was the first album, as I'd randomly picked up their CD some 15 years earlier. I'll start here and also review the others in the coming weeks.

I consider Spirit a highly unique band. They didn't rely on instrumental prowess, or any other crutch, to hide their inability to write a song. And that was their strength - an innate ability to craft melodies. And they were strong arrangers. So, yes, perhaps 'Taurus' being the most famous with a chord progression most known as 'Stairway to Heaven'. I'm one to give Zep a break here, as they most certainly fleshed it out much further, and only one central theme is familiar. Best guess it was a subconscious event rather than purposeful deceit. If one is to call out an instrumentalist, it most certainly would be the guitar of Randy California. And really love his acidic tone when employed.

There's elements of psych, jazz, and early prog concepts. The Beatles songcraft is also apparent at times. The exception to the tightly woven songs is the lengthy album closer 'Elijah" that shows the band were comfortable with instrumental jamming as well. Here, the flow recalls the Doors a bit. Or vice-versa.

The bonus tracks, on the other hand, seem to refute my claim about them being songwriters first, and jammers second. Really enjoy this side of Spirit as well. I hear these bonus tracks as essential to the overall experience.

Ownership: 
1996 Ode Epic Legacy (CD). Booklet with full historical liner notes and four bonus tracks. Acquired in 2005.

2010 Ode Epic Legacy Europe (5xCD). I only kept the original Legacy CD for the liner notes, and that it possesses little value. Otherwise, the bonus tracks from all the CDs are here too. Acquired in 2021.

2005 (first listen); 2/18/18; 1/27/26 (review)

Will be reviewing albums 3 through 5 in the coming weeks.

1/27/26 (new entry)

Locanda Delle Fate ~ Italy

Forse Le Lucciole Non Si Amano Più (1977)

---3/10/01

By 1977, progressive rock in Italy was all but dead. Most of the movement had moved either underground, or more towards the experimental (Pierrot Lunaire, Picchio dal Pozzo). It must’ve been quite the surprise for collectors of the day to see Locanda delle Fate appear on the horizon, with major label backing (Polydor) and the visual eye candy of the gorgeous gatefold fantasy cover. Generally considered the last hurrah for the great Italian music scene, Locanda Delle Fate appropriately provide the final benediction. A seven piece group, with a rather complete instrument lineup consisting of organ, Moog, flute, piano, vibraphone, clavinet, acoustic & electric guitar, bass, drums and vocals. In some ways, Locanda Delle Fate's album can be considered a move forward, an updated take on the classic sound. An argument could be made that the album is almost too slick – too many compromises for a more fidgety contemporary audience. In reality, Locanda Delle Fate were more subtle than their predecessors. It really takes many listens to peel the onion as it were. For those weaned on the musical acrobatics of Semiramis or Il Balletto di Bronzo, Locanda Delle Fate can quickly be waved off as lightweight and simple. This would be a poor assumption to make. Perhaps this is why Locanda Delle Fate took longer to surface than other bands of their ilk: All of the lessons learned from observing the last seven years.

The opener, 'A Volte un Istante di Quiete', is a brilliant instrumental with active rhythms and flute leading the melody parade. The next piece (the title track), demonstrates why Locanda delle Fate needs more time for evaluation. The music here is almost pop-chart-commercial except there is much more complexity brought forth. It's a testament to the savvy of Locanda Delle Fate to harbor this kind of intelligent composition style, while not being show-offy in the slightest. Each of these apparent chartmakers contain outstanding instrumental sections that focus on the ensemble rather than the solo. What stands out most about Locanda delle Fate are the memorable melodies all within the context of the overall complex instrumental work. While all the instrumentalists are fantastic, special mention goes to flautist Erio Vevey who typically owns the melody line. Track highlights include 'Sogno di Estunno' which is Locanda Delle Fate at their most aggressive and 'Vendesi Saggezza', the stunningly beautiful closer.

---2/2/26

I had completely forgotten that I'd written a full review 25 years ago, until searching my hard drive for previous listens. And, as it turns out, that was the last instance that I heard the album! It's about time the random number generator picked it then. So the album makes it's long awaited debut on UMR. Let's see how I hear the album today.  

Perhaps no surprise, but I hear it better than ever. There's an Italian romanticism the group captures that is very much of the 70s era, and one I adopted for myself in the late 80s and early 90s. Strangely I have a sense of sadness surrounding it, as the optimism of youth is now replaced with nostalgia and reflection. Albums like this bring those emotions out. I called out the highlights on my original review, though there truly are no weak moments here. B1 is Locanda Delle Fate at their most commercial and yet even here they add plenty of complexity. B3 is as beautiful as the closer. 

Reading today that many have issues with the vocals. Once again, he was of the era, a gruffer voice that was prevalent in many Italian prog groups. Like Odissea, Delirium, or a more controlled Jumbo. To be honest I didn't really take to this album much in 1990 either, thinking it wasn't "progressive enough". Haha, such is the quick judgment of a young mind. It's plenty progressive, but it is more subtle in its approach. Something I clearly understood by the time I did get around to writing my review.

The CD includes their 1978 single 'New York' / 'Nove Lune'. Italy seemed to be obsessed with The Big Apple in the 70s, perhaps not overly surprising given many of their families had relocated there over the last century. As to be expected, Locanda Delle Fate is attempting to find a more commercial stance on this 45. The A) side is too singy-songy-whiny for my tastes. The B) side picks up the pace, and adds back in some progressive rock complexity. They still had it in them, and a full album like this would have resulted in another heralded classic. But that was an impossible ask for 1978 Italy. It was over.

Ownership:
1977 Polydor (LP). Gatefold. With lyric inner bag. Acquired in 2003.

1982 Polydor Japan (LP). Gatefold. With Italian lyric and Japanese insert. Acquired in 1999.

2001 Polydor Japan (CD). Papersleeve gatefold. With lyric inner bag and insert. Acquired in 2003.

First copy and since sold: 1988 Polydor Japan (CD). Acquired in 1990. These Japanese CDs were hard to find back then!

1990; 3/10/01 (review); 2/2/26 (update)

The band reformed in the 90s but I don't have any of their other albums in my possession.

2/2/26 (new entry)

Jukka Gustavson ~ Finland

...Jaloa Ylpeyttä Yletän....Ylevää Nöyryyttä Nousen (1978)

Back into the newly acquired collection. I'd heard this album once before but never owned a physical copy. Let's see how it goes this time.

As with Vortex's second album that I recently revisited, Jukka Gustavson's solo debut (technically released as Jukka Gustavson's Alone Together Orchestra) could be described as orchestrated jazz. Though in this case there isn't that avant prog vibe, more towards pure jazz fusion. Elements of Soft Machine appear throughout. There's a cast of thousands here, and only Gustavson's keyboards are allowed to dominate in any one place. Organ is still his preferred instrument, giving it more of an early to mid 70s sound. Reeds also play a major role here. The album is broken into 13 all-instrumental pieces representing one suite across both sides. The central theme is based around Christian principles and the lavish booklet includes many Biblical quotes.

This was only the beginning for the former Wigwam keyboardist. He continues to record to this day. I haven't heard any of them, but certainly wouldn't deny the chance to do so.

Ownership: 1978 Love (LP). With booklet as noted above. Acquired in 2026.

5/8/12 (first listen); 1/29/26 (review)

1/29/26 (new entry)

Rare Earth ~ USA ~ Detroit, Michigan

In Concert (1971)

If there's an album that proves my theory about Rare Earth never letting loose, it's In Concert. When finding this CD I had hoped that perhaps in a live setting, Rare Earth would bring a new level of intensity. Sadly they do not. I'd submit they are of a lower energy than the studio versions. They proved this point the most on 'I Know I'm Losing You', a track that should send chills up the spine. 

Not to say they sleep walked through these tracks either, just that they did not bring the oomph they need. One only has to listen to Judas Priest's Unleashed in the East to know what a kinetic live album can add to studio recordings.

Though In Concert remains their highest rated album (according to RYM), I'm not convinced it achieves the high marks. I would think the only reason to seek this out is for the near 11 minute jam 'Thoughts' which I believe is the only place the track exists.

Source: Motown (CD)

1/28/26 (review)
 

One World (1971)

The big hit here is 'I Just Want to Celebrate' which is definitely the best song on the album for my tastes. This is a good album but somewhat "generic Rare Earth" sounding. They were to rebound nicely on Ma, but this title is a bit mundane. 

Source: 1971 Rare Earth (LP)

9/11/24 (notes)

Ma (1973)

Another solid hard rock funk album from Rare Earth who seem to specialize in heavy psych covers of soul classics. B3 is a killer, one of their best ever. B4 is oddly erotic but a very good track and a different direction for the group. I can do without B2. The side long track is like a lot of the Rare Earth catalog - always on the cusp of something big, and yet they hold back. They never really did let loose for that one psychotic Krautrock styled freakout. I'll keep this one.

Ownership: 1973 Rare Earth (LP). Acquired in 2024.

6/13/24 (review) 

Ecology (1970)

---5/9/22

OK, this is the Rare Earth album I've been looking for. Non stop kickass hard rock and organ. My copy is trashed (like all the ones I've seen), so I'll need to upgrade before commenting more. The only reason I have this copy at all is that I took a chance on one of those Goodwill auctions. It was predictably not a great experience. Fortunately the two records I thought I could resell turned out pretty good and will more than pay for the lot. But I'm not doing that again. I had to throw away the Eagles' Hotel California album it was in such bad shape. Goodwill sucks really. 

---5/19/23

So that day has finally come. There was an interim copy with the cover in shrink, but the vinyl once again barely made the VG level. I finally found a German copy, itself visually a VG, but it plays much better. So let's analyze the album a bit further.

In a lot of ways Rare Earth reminds me of Iron Butterfly. Not so much in sound, but lost opportunity. While both of these bands reached their peak long before my time, any kind of historical study will show that they were both huge in their day and highly influential. Motown named a sublabel after Rare Earth, as but one example. Had they been based in Europe they likely would have had more creative freedom, but the major labels here were laser focused on the next hit, and it appears that both of these legendary bands were all too willing to play ball. Bad for their legacy, and ultimately bad for their pocketbook. Rare Earth arguably fared better with their most known song coming one year later in 'I Just Want to Celebrate'.

While the previous Get Ready had a side long track, it's here on Ecology where the band experiments the most. And the one track where that really becomes apparent is a cover of The Temptations' '(I Know) I'm Losing You'. Everything about it is so perfect, yet it feels like it should be so much more. It's on the verge of psychotic madness but holds back just enough to keep within sane levels. It's use of quiet space inside the proposed boundaries is brilliant. And while it does have some wicked guitar, one wishes for it to have gone off the rails while the impassioned vocals are being echoed throughout the halls. The whole album maintains this feel that they're holding back something special, yet it's still an excellent album. It should have been a masterpiece though. For 1970 America, Ecology was considerably ahead of its time. If only Del Jones had walked in and had some influence. Hoo-boy, wouldn't have that been something? Today dogeared copies of Rare Earth albums sit unwanted in dollar bins, awaiting their ultimate fate to the trashcan. A mere historical footnote in the annals of rock music.

Ownership: 1970 Rare Earth Germany (LP). Acquired in 2023.

5/9/22 (first acquired / notes); 5/19/23 (review)

Get Ready (1969) 

Here is Rare Earth's breakthrough 1969 release. Like with Iron Butterfly, Rare Earth were a band that was positioned for a long great career, only to let it slip through their hands. Similarly their albums are relatively easy to find, and demand remains light. All the same, they are to hard to find in nice condition, as they are usually partied out by now. And taking the comparison further, one could look at Get Ready as Detroit's response to Southern California's In-a-Gadda-da-Vida. Some rockin' tracks on Side 1 followed by a near 22 minute opus on the flip. It's more direct than the oftentimes esoteric Iron Butterfly, but that speaks to the region itself. This isn't my first go round with Get Ready, an album I first picked up back in the late 80s. I thought it was OK, but it should have been better, and moved it out. Some 40 years later, and I still agree with my original assessment. The songwriting is a little light, and the cover tracks aren't particularly compelling. But it's also hard not to appreciate the excellent fuzz guitar throughout. I'm appreciating Get Ready more today than prior, but it isn't near the level - or as influential - as Iron Butterfly's masterwork.

Ownership: Motown (CD). 90s issue. Acquired in 2023.

1989 (first acquired); 5/12/21 (review); 6/23/23 (update)

5/19/23 (new entry)

Stone Garden ~ USA ~ Idaho

Stone Garden (1969 / 1998)

Hard to imagine that Idaho was home to any heavy psych bands from the late 60s and early 70s, much less two. Though unlike Salem Mass, Stone Garden did not release their material real time, despite having a production grade recording under their belts. It wasn't until 1998 that Rockadelic unearthed the tapes and released it on LP, and was later issued on CD by Gear Fab. Other issues followed. They did, however, manage to put out one incredibly obscure 45 prior to these recordings.

The album starts with a Blue Cheer styled heavy psych piece, and largely defines the album as a whole. But there are many diversions including the jazzy 5) and some early progressive rock ideas (tracks 4; 8). The only skip over is 9), which is a silly novelty country influenced number. A fantastic archival find overall.

All of the issues include the original 45, which is considerably lesser than the archival material. This is noted in the booklet since the latter was professionally recorded. The opening track is the B) side of the single, and closes this CD. It's definitely the highlight, though the guitars are way less amplified and there's incongruous saxophone, which comes out of nowhere. The A) side is pretty much straight blues, though it does have a very nice psych tinged solo.

Ownership: 2002 Gear Fab (CD). Booklet with full history and both 45 cuts. Acquired in 2014.

5/10/07 (first listen); 2/28/14; 1/27/26 (review / new entry)

Blue Knights ~ Germany

Blue Night (1992)

Long ago I had made the decision to buy everything I see on the Innovative Communications label, whether on CD or LP. Klaus Schulze had founded the label, and originally it featured artists that followed in his footsteps. Long after he'd sold out (1983), IC went in many directions.

Blue Knights are an offshoot of Dancing Fantasy. Both collectives have a lot of albums, and this is the first one I've heard from either, which happens to be the debut. Both Discogs and RYM curiously label the album as Smooth Jazz or Jazz Fusion. It is neither. When hearing it I was thinking of a very popular artist from the mid 90s. This morning, with the help of AI, I remembered who it was: Swiss artist Robert Miles and his big hit 'Children'. I know within the world of electronica there are dissections to the nth degree on what bucket each musician belongs to. Dream Trance, Progressive House, Eurodance, or whatever blablabla, are much closer in spirit to Blue Knights than Smooth Jazz or Fusion. Kenny G or Weather Report would be the furthest thing on your mind when hearing this.

The primary driver here is the sound of the piano (which is why I thought of Robert Miles). The melodies are simple, yet beautiful. The electronics set the atmosphere perfectly, and yes of course, boom boom boom. It's at the border of dance and chill. I tag them all with the generic term "electronica" for easy reference. The album peaks on the sequence between tracks 8 and 10. Other highlights include 2, 3, and 5. The last track provides a perfect closer.

Perhaps the most surprising aspect of this album, to me at least, is the date. I associate music like this with the end of the 90s, not the beginning. Though I'm sure much of that has to do with my own ignorance of these genres in general. And since the 90s was the great trajectory of my life, the background music of the decade always resonates positively here. Not surprisingly, the CD's theme as noted in the booklet, revolves around high fashion. Such a frivolous decade really. I miss it.

While I wouldn't bother to mail order any of these, I will continue to seek them out in the thrifts or record shop's budget bins. How much of these will I ultimately keep? Not sure, but since that part of my collection still has open space, CDs like this slide in easily.

Ownership: 1992 Innovative Communications (CD). Booklet with fashion / model photos and a narrative about the album. Acquired in 2026.

1/23/26 (review)

1/23/26 (new entry)