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.

5/10/07 (first listen); 2/28/14 (CD acquired); 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.

1/23/26 (CD acquired / review)

1/23/26 (new entry)

Albert Marcoeur ~ France

Albert Marcoeur (1974)

I had originally thought to put these in the journals, but what the heck, I'll make a post. This collection has the first four LPs from Monsieur Marcouer, of which I'd heard three of them in my past. And I owned this title on LP, surprisingly enough. During my "intellectual 20s" I guess, not that I was any kind of raving scholar. Maybe the guy who cleaned the chalkboard late at night.

Generally known as the French Frank Zappa, Marcoeur's music is largely unclassifiable. And, at times, unlistenable. I'm all for creativity, but you know, a melody doesn't hurt every once in a while. Even Frank understood that, especially on an album like Hot Rats. Expect a completely random listen here with lots of "fou" / "folle" all in French, of course. He's doing his own thing, so have to admire that. And that's about as far as I go in my praise.

Perhaps the most surprising aspect of this album is that it was released on a major label. Of course it was in France, and goodness knows, innovative art ruled supreme there in those days. Sometimes you win, sometimes you don't.

Source: 1974 Atlantic (LP). Gatefold.

1/23/26 (review)

I have his next three albums to go. I'm determined to listen to them all the way through (and maybe more as I'm doing with the debut). I'll space out the listens for certain. Not sure I'll have as much narrative though. We shall see.

1/23/26 (new entry)

Camel ~ England

The Single Factor (1982)

Another one of those albums I could have sworn I wrote about, but guess not. It was only 7 years ago I found a copy in my early days of thrifting around town. Didn't hear any redeeming qualities and off it went.

This was part of the newly acquired collection, and a super nice copy at that. So let's get some virtual pen to paper here. Most certainly the title of this album is what you would call a clue. Those first two tracks are nothing more than radio bait. When I think of Camel, I think of quality songwriting. So, honestly, they probably should have made a dent in the corporate FM scene. Perhaps they were too far into their career to have any mojo left by 1982. The third song begins to show their progressive past, but in an Alan Parsons Project way. Since the vocalist is none other than David Paton, then that should prove to be no surprise. This is followed by a mellow and soothing instrumental. Andy Latimer definitely adds some soul to his guitar playing. This side closes with the even more mellow only-on-the-right-speaker 'Lullabye'. Side two starts off promisingly with another instrumental, more upbeat this time with fine keyboards from Peter Bardens (oh, there you are). B2 is arguably the heaviest track here, and even Mr. Mellow himself, Anthony Phillips, is participating on keyboards. After this, they ran out of ideas and threw in two pop rock hopefuls. B4 is pretty bad honestly. They close side 2 in a soft manner similar to the flip.

The Single Factor did indeed prove to be better than my initial impression. Though not even close to shelf space I'm afraid.

Source: 1982 Passport (LP). Lyric inner bag that also informs us that drummer Andy Ward does not appear because of a serious injury to his hand (though that was obfuscating the truth).

8/2/19; 1/23/26 (review)
 

A Live Record (1978)

I hadn't heard this prior, and rarely these days do I have the patience to sit through two albums worth of live material that I'm largely already familiar with. A Live Record passed the key test: Is it unique enough from the studio versions for repeat visits? And I'd submit yes it is. Solid representation from their five previous studio albums, with one album dedicated to The Snow Goose suite.

Ownership: 1978 Decca Europe (2xLP). Gatefold.

6/24/24 (LP acquired / review)

Rain Dances (1977)

Rain Dances, Camel's 5th album, is where Camel wandered over the line from all-in progressive rock to that of AOR / FM music. Well sort of. They could be considered what is now known as Yacht Rock, or even more to the point, Yacht Prog. So yes, you can place Camel now in the company of Fruupp, Kestrel, Sebastian Hardie, and the rest of them. Latimer gives the game away on the back cover, though they are a bit scruffy to allow on the boat it would seem. Maybe they can work in the steam room?

If we're honest, Camel had always leaned in to the melodic side of the house. Herky-jerky rhythms and impossible compositions were never their forte. They just mastered their craft better here. And I have to think Latimer spent a little time digesting some of Santana's guitar licks before heading into the studio. Adding Canterbury stalwart Richard Sinclair was the right move at the right time. One of the few British singers who actually sounds like he lives there, his soothing tone is perfect for the soundscapes Camel are painting. There are a couple of overt plays for radio that didn't really stick (I can't recall ever hearing Camel on the radio growing up in the late 70s), but they aren't soaked in saccharine pathetic whining, like so many of their peers were prone to do. They were to dive deeper into these waters on the also excellent Breathless, but even more brazenly commercial than here. The deal is, Camel were just damned good songwriters and musicians, so they were able to pull it off. I'd submit much better than Genesis did, though the latter clearly captured the corporate market far better. There's no accounting for good taste, now is there?

Ownership: Deram (CD) With historical retrospective and one single edit bonus track.

1996 (CD acquired); 2004; 6/14/20; 3/9/24 (review)

Mirage (1974)

The other day I was talking with local collector and friend Dr. Boom about Camel, and he indicated that he wasn't too enamored with them. "Too lightweight for me" he opined. That's unfortunately a common perception and criticism that Camel gets tagged with. Even for myself, when I think about Camel, it does occur to me they are on the softer end of the progressive rock spectrum. But are they really? I think Snow Goose and their later works adds to this notion. My introduction to Camel was via this LP, and thank goodness for that. For me it's a foundational album to my overall appreciation of music. I suggested to him that he at least revisit Mirage. Especially side 2. I think you'll walk away with a different experience. We'll see if he takes me up on that suggestion.

For my tastes, Mirage is in my Top 50, and maybe even Top 25. 'Supertwister' seems to represent half of my late 70s and early 80s instrumental Continental European prog collection, such was the impact it had on a global scale. Though, in retrospect, it would appear they were influenced here by none other than Tonton Macoute. This track is not from the Jethro Tull school of flute driven prog. As noted prior, all of Side 2 is a barnburner. 'Lady Fantasy' is absolutely bonkers, and closes the album with the stereo in flames. Nothing lightweight about Camel here.

Ownership: 

1974 Janus (LP). This is one of the very rare times where I prefer the US artwork to the European original when they are different.

1974 Deram UK (LP) 

2002 Deram UK (CD) With liner notes and four live bonus cuts that total ~29 minutes.

1984 (Janus LP acquired); 2002; 1//05; 6/23/06; 1/15/14; 1/19/24 (review)

Breathless (1978)

Continuing the transition found on Rain Dances, Breathless is even more geared toward a commercial sound. In retrospect though, there's plenty of thoughtful progressions within the tight confines of their pop songs. Vestiges of their progressive rock past can be found here as well, in particular 'The Sleeper'. 'Summer Lightning' sounds like an updated and disco'd up 'Winter Wine' from Caravan's classic In the Land of Grey and Pink. Of course, now having Richard Sinclair on board has a lot to do with that perception. 

Ownership: 1978 London Japan (LP). With giant poster.

1984 (LP first acquired); 12/10/20 (LP reacquired / review) 

Other albums I own and need to review: Camel (1973); The Snow Goose; Moonmadness; I Can See Your House From Here; Nude

1/6/23 (new entry)

Debile Menthol ~ Switzerland

Battre Campagne (1984)

Quickly back to Debile Menthol. I already traded the below copy to a local collector (who loved it immediately), and he was also interested in this one. So I moved it to the front of the stack for a listen. Battre Campagne is the title I owned long ago (before 2004 at the very least). Well, no surprises here, the music is mostly lost on me. Combine what I said below, add some Devo, and perhaps some Looney Tunes while at it. One cannot accuse Debile Menthol of selling out here. If anything, they really upped the ante on just about everything. Surprised to see this as the lower rated of the two, given its dedication and focus of the style.

Source: 1984 RecRec (LP). Includes insert with lyrics and recording details.

1/22/26 (review)
 

Emile Au Jardin Patrologique (1983)

The newly acquired LP collection included many imports of (what we now call) avant prog. A beautiful selection honestly. Though much of it will find their way into other collections when it's all said and done. As you might know, if you've read this blog long enough, the genre isn't a favorite of mine. I do, however, understand the allure of it. Highly composed, often zany, usually happy, and somewhat random in its approach. Which if I read my own description, sounds pretty darn good. I tend to champion melody, grooves, atmosphere, intensity, solos, and riffs. And on that front, avant prog is something of the polar opposite. 

Most of these albums - I suspect - will find themselves in my prog journals. But I wanted to at least put one group out there, as who knows when the journals will be published. So I wanted to provide context as I plow through this collection. Because most of what I held back to listen to will likely be in this vein. I already own the Italian and English prog stuff, and much of his fusion albums as well (though there are a lot of those I'm also looking forward to diving into).

I thought I'd owned both Debile Menthol albums in the past, but it turns out it was only the second one. Which is also here, and I will update this post when I get to it. While hearing Debile Menthol's debut, I found myself distracted and irritated often. Whether I was focused on each note of the recording, or busy reading something else, the music could be described as a "great interrupter". All the same, there is an intellectual side of me that really wants to love this stuff. In my 20s, I was that person. I had many albums such as this as late as the mid 1990s (when I turned 30). I let academia sometimes override emotion. Which is smart in finance and business, and I still maintain that philosophy for those. But for appreciating music? No, that has to come from the heart and soul. So while my brain was having fun distilling the crazy notes and meters, my heart was looking for something else to do that I enjoy. 

So we'll leave it there. I know (or hope) there will be a few that I will sing the praises of. Others will find their way into the Debile Menthol category. But I'm sure it will find its way into the hands of a serious collector eventually.

Source: 1983 RecRec (LP). Includes insert with recording details.

1/20/26 (review)

1/20/26 (new entry)

Passport ~ Germany

Doldinger Jubilee '75 (1975)

We were recently in Tulsa, Oklahoma, on our way back home from acquiring the collection in the Southeast. I arm-twisted Mrs. UMR in allowing me to dig at one record store for about 20 minutes. There were no obvious great deals, or anything that I really wanted, so what I usually do in that situation is pick up at least something. I like to support the stores, but not spend too much if I don't have to. So I walked out with one good classical album - and this, priced properly at 3 bucks. I've never heard it, so why not see if it's collection worthy. That lineup is solid, with Philip Catherine, Kristian Schultze, and Curt Cress leaping out to my eyes.  

The tunes are mostly culled from prior studio albums, with Les McCann's 'Compared To What' and Catherine's 'Angel Wings' added to the repertoire. My initial reaction was this is a very good concert, but a bit subdued. Doldinger has a sax tone that doesn't always resonate with me. Side 2, though, brings a high energy level, and suddenly Side 1 opened up in a similar manner. Wolfgang Schmid's bass work, in particular, is stellar. A2 and all of B are your highlights. Going to keep this one.

Ownership: 1975 Atlantic (LP)

1/20/26 (LP acquired / review)  

Second Passport (1972)

Wasn't expecting Passport to be the source of my next +1 listen. But that's recently what happened as I was drawn in by the energetic, and at times, complex jazz rock brought forth by Klaus Doldinger's bunch. A2, A4, B2, and B3 are stellar. A3 is spacious and provocative. Meanwhile A1 and B1 appear to be more traditional but each breaks into their own serious jams. Saxophone and organ lead the solo parade. Superb album.

Ownership: 1972 Atlantic Germany (LP)

11/18/15 (CD acquired); 4/15/23 (LP acquired / review)

Looking Thru (1973)

Looking Thru is the 4th album from Klaus Doldinger and Passport. It's also the only one I hadn't heard to date of the first six. And as 'Eternal Spiral' opens, I thought I may have missed out on the best one! Right from the start, Moog's, mellotrons, and energetic rhythms propel this most auspicious opening. And then... ...it's Passport. For the most part you get seven pleasant jazz fusion sax driven instrumentals. They're a professional band, and the quality of musicianship and production are high. 

My original assessment of the album (from the Japanese CD) was good, but inessential. A relisten last night confirms that it probably isn't essential but I still had a +1 listen. Most likely this stems from my recent interest in jazz funk, and I found the melodies more pleasing this go round.

Ownership: 1974 ATCO (LP)

3/7/19 (CD acquired / review); 3/11/22 (LP acquired / update)

Also have heard Passport (1971); Hand Made; Cross-Collateral; Infinity Machine. Need to revisit all of them.

3/7/19 (new entry)

Hairy Chapter ~ Germany

Can't Get Through (1971)

---9/3/07 (excerpt)

Hairy Chapter’s Can’t Get Through, along with Haze, are albums I discovered too early in my record collecting career. I was fortunate to happen on these LPs in the 1980s, but the direct hard rock approach they both took was rather off-putting and I traded to other dealers not long after.

---1/20/26

Exactly that. I was still new at this whole buy-any-import-that-looks-cool stage. Summer of 1986 is when I found this album at the Dallas Record Show for around $5, if memory serves. But this just wasn't the sound I was looking for at that time. I liked metal and I liked cosmic Krautrock, but hard rock? Naw, that's too ordinary. That mentality changed somewhere in the 2000s I think, maybe a bit before. Certainly it had by 2007, on that random listen.

So what does Can't Get Through sound like anyway? Would you believe hard rock? Haha, of course it does. The extended guitar solos give it that Krautrock edge. Some Black Sabbath references as well. So it fits comfortably with many groups from Germany during this era like Haze, Blackwater Park, Night Sun, Epitaph, Silberbart, Spermull, Frame, Dschinn, etc... B2 provides the only break, and it's way out there actually. Like The Beatles on a bad trip.

As with Arco Iris' Agitor Lucens V, Can't Get Through has been on my want list for many years. In this case, I really wanted the original though (given my history), not a modern reissue. I managed to do one better than that copy I bought in the 80s, as this is the true first press, and I had originally stumbled onto the '72 pressing. Either one was fine with me, but cool all the same. It was an online purchase, and while not cheap, it was a good deal and accurately graded. Don't be afraid of VG vinyl from Germany, as they often sound much better than they look. And that's certainly the case here.

Ownership: 1971 Bacillus (LP). Gatefold.

1986 (LP first acquired); 9/3/07; 1/20/26 (LP reacquired / review)

I also once owned Eyes on CD but it wasn't to my taste. I'll have to hear it again at some point.

1/20/26 (new entry)

Metallica ~ USA ~ San Francisco, California

Garage Inc. (1998)

It had been my intention to follow up the original Garage Days listen below with the 1998 updated album, as they're both on the same CD. I put it aside, then it got buried under other CDs, and finally forgotten altogether. Eventually managed to find it and put on a listening list, and here we are.

From the below I wrote: "I don't technically like cover tunes, as I see them as something of a novelty. But in the hands of Metallica it somehow seems different." At least that was the case in the 80s lol. Somewhere along the line, Metallica lost interest in thrash, and by the 90s they were more like a bluesy metal band. And their popularity, at least from a critical response perspective, also sank to the bottom as I also noted in the Hardwired review. Though financially, I seriously doubt they felt the pinch. They obviously don't care about their legacy, and so be it. They are a hell of a lot richer than their brethren, but less respected. So is Elon Musk. Each were once worshipped and now derided by many (and loved by others). Big deal, I'm sure they collectively feel.

If there was an album that afforded them a modicum of street cred in the 90s, it was Garage, Inc. Whereas the covers on the 1987 effort were well researched underground metal, here they are a bit more typical classic rock fare. Not sure I need to hear Metallica cover Bob Seger, Lynyrd Skynyrd, and Nick Cave. Black Sabbath and Thin Lizzy feel obligatory. Doing punk covers, while actually sounding like a punk band, is beneath them. 

So what does that leave? Yea, the 11 minute Mercyful Fate medley. A really great fit for classic era Metallica, and exactly the type of music they embraced a decade earlier. The other is the intriguing choice of 'Astronomy'. Proggy Blue Oyster Cult meets Metallica? Funny to hear Hetfield try to actually sing. I think it's hard to replicate the atmosphere without the piano, but they did an admirable arrangement job here. Makes you wonder what they would have come up with if covering Yes or Genesis? Embarrassing or enlightening? Hey, I wouldn't underestimate them that much. 

I'll keep this CD in the "extra" category, primarily for the bonus tracks on Disc 2, which is mostly 80s material.

Ownership: 1998 Elektra (2xCD) with Garage Days Re-Revisited. Booklet with extensive liner notes and photos. Plus many bonus.

1/19/26 (review)
 

Garage Days Re-Revisited (1987)

After reading the below, it should come as no surprise I bought this EP on Day 1. I don't technically like cover tunes, as I see them as something of a novelty. But in the hands of Metallica it somehow seems different. They make great songs even better, especially in their 80s heyday. And their choices of songs proves once again that they were quite well versed in metal history. Choosing bands like Diamond Head, Budgie, and Holocaust was next level research for 1987. This was the album that introduced bassist Jason Newsted, and a key transitional moment that Metallica wasn't going to give up after Cliff Burton's untimely accidental death. Another one of those albums I have no documentation of hearing since purchase, though once again I know that's not accurate. 

While I'm here I should cover off on the extended 1984 Garage Days Revisited single that includes the devasting 'Am I Evil?' from Diamond Head plus the excellent NWOBHM Blitzkrieg track.

Ownership:

1987 Elektra (EP)

1998 Elektra (2xCD) on Garage, Inc: Disc 2 - Tracks 1-5 (6-7).

8//87 (EP acquired); 7/29/25 (CD acquired / review) 

Kill 'em All (1983)

It all starts here. This album. The one that put thrash metal on the map, and perhaps was the jet fuel the entire heavy metal genre needed to survive for the ages. As I noted on Accept's Restless and Wild, they lit the match. Metallica took that fire to the torch and scorched the earth with it.

For me personally I was looking for a sound. I didn't know what it was, but I needed a place to burn some pent up energy, both mind and body. By 1983, I was a huge fan of Iron Maiden, Judas Priest, Saxon, the aforementioned Accept album and a few others. Iron Maiden was the closest to what I was seeking, but they weren't ever really that heavy to be honest. But they had the right idea compositionally with 'Phantom of the Opera', 'Hallowed Be Thy Name', 'To Tame a Land', and many others. According to RYM, Kill 'em All was released on July 25, 1983. That ties to my memory as well. It wasn't until August that I purchased my copy (which I still own) after reading about it in Kerrang. The timing is important because it was only a couple of weeks before I entered college. One of those identity defining moments at a key time in life.

I remember hearing the album for the first time and my reaction to it. 'Hit the Lights' was a perfect opener. A lot of albums back then had a perfect opener. But would it sustain? Then came 'Four Horseman'. And there it was - that was the sound I was looking for! The riffs, the production, the meter changes, everything about it was so perfect. ...And it never let up from there. The album was relentless in its pursuit of heaviness with a bit of brainpower. Some of their best tracks can be found here (including the two openers), especially 'No Remorse', 'Whiplash', 'Jump in the Fire', and 'Seek & Destroy'. 

They were to improve dramatically on their next two albums in the areas of songwriting, technique (including vocals), lyrics, and production heaviness. And yet Kill 'em All was already miles ahead of any perceived competition.

As I stated - it was an album that shaped an identity. As noted here a few times, I attended Texas Tech. That school is in Lubbock, in the middle of hardcore West Texas. Country music ruled supreme and many young cowboys from the area went to school there. I had nothing in common with any of them. I was a city kid from Dallas. There were a few of us like that. It would be three months before I even met someone who knew who Metallica was. Instant friendships were bonded in that way. Long haired, torn denim, tennis shoes wearing metal heads in the world of clean cut cowboys complete with hat and boots. The only downside was that all the pretty girls (and there were many of them!) liked the cowboys. Sigh. 

I acquired this album not long after release at a mall record store as noted above. Funny to think about that too. At a mall store... Probably right next to Men at Work's Cargo.

A true story: One early afternoon after class, I needed to burn off some energy (common theme apparently), and was jamming to 'Whiplash'. Two of my dorm mates were walking down the hall. Imagine 6' 4" tall cowboys, tight jeans, boots, and black hats - walking in lockstep. They saunter past my door. They stop and look backwards into my room and ask in a western twang:

 "What the hell is that sh*t?". 

"It's Metallica, dude" 

"What?" 

"Metallica".

"Well that sh*t SUCKS. Keep it down!"

Ownership: 

1983 Megaforce (LP). Lyric inner bag.

Vertigo Argentina (CD). Two hidden bonus tracks taken from the 'Creeping Death' EP: 'Am I Evil?' and 'Blitzkrieg'

2010 Vertigo Japan (CD). Papersleeve.

8//83 (LP acquired); 1//04; 8/8/15; 8/8/24 (review)

Hardwired... To Self-Destruct (2016)

I got this in a bulk metal buy about four years ago. Just now getting to it. No time like the present. There's so much I could say about Metallica, having purchased Kill 'em All not long after being first released (see above). They were so far ahead of the pack in the 1980s, the whole world was scrambling to catch up. And still couldn't keep up. Their last innovative offering was And Justice For All, way back in 1988. Metallica knew that it would have been impossible to stay on top of emerging trends, so they pivoted to a completely new sound. I dropped out at that time as well. Their 1991 album tends to get a pass today (an album I didn't appreciate until recently myself). And everything else they've released since then comes with a cargo ship full of hate mail. If I were to write a fast thesis, it would be interesting to note the fan trajectory of a peer like Iron Maiden, who today is as highly admired as ever before. Which gets us to Hardwired, an album that I should be saying is their latest, but I piddled long enough for them to sneak a new album in. That new album is taking the same poisoned arrows as anything else they're released since the 80s. I liked Death Magnetic (2008), their first album to consider their own legacy. I couldn't tell you much about it, but I do own the CD. But my guess is I'm holding onto to that for the same reason I'm holding on to this. It's probably temporary in any case for both. So what about the music of Hardwired? It's very good actually. Not extraordinary. No chance taking, no ten minute tracks about Celts and Samurai warriors like Iron Maiden is doing (to mixed reviews, but consider me a huge fan of Iron Maiden continuing to push the envelope). Rather Metallica cusses like a 14 year old juvenile delinquent and isn't even that heavy by today's standards. And they were the trailblazers of the modern metal sound. Nothing was as heavy as Master of Puppets in 1986. But Hardwired is almost like juiced up hard rock. They give you one full disc of music on two, and within all those minutes there is some good stuff. But no heart racers as they did in their youth. In the end, the band has nothing to be ashamed of on Hardwired, but they really gave away their place in history long ago. But those first four albums... Wow. (Jun)

Ownership: 2016 Blackened (2xCD). Triple FOC.

6/30/23 (acquired / review)

Master of Puppets (1986)

Presumably I don't need to review this album so you can know how it sounds. But what I can tell you is my own story. I was a junior in college when this was released (and purchased on LP - the copy referenced below in fact), and was probably the most anticipated release I can think of... ever. I had already bought their first two albums immediately upon release, and was subsequently blown away by each. That did not happen here. Make no mistake - my rating in 1986 would have been 4.5 stars had RYM existed then. In fact my opinion of this album has remained unchanged in 32 years of hearing it. I love every minute of it. And yet I couldn't help thinking it was a slight disappointment at the time, and even now. Why would I say such a thing about a universally acclaimed masterpiece? Well... think about the debut and then the follow up. Both were mind numbingly creative for their time. Master of Puppets was more or less a repeat of Ride the Lightning - more perfected sure, and objectively better. But subjectively perhaps not. Gone was the raw creativity, and in was the pure professionalism of it all. From here, Metallica continued in a similar manner - to the point of losing focus altogether. So Master of Puppets was the beginning of the end, though it didn't seem that way at the time. Yes, of course, it deserves all the accolades it gets and I'm one of those positive voters. 

Ownership: 

1986 Elektra (LP)

2006 Vertigo Japan (CD) Papersleeve.

3//86 (LP acquired); 8/13/15; 7/30/18 (review)

Ride the Lightning (1984)

To truly appreciate Metallica, I think it's important to understand the history. When Metallica debuted with Kill 'Em All, they had rewritten the rules of metal as we knew them. There just simply wasn't any band playing that heavy, that fast, and that clear in those days. Sure it was a bit simple minded, and the lyrics were a little on the bonehead side, but still the album had most young males heart racing faster than Secretariat at the Derby. It was an exciting beginning, and Metallica could've stayed with this style and been heralded as a pioneer much in the same way we view Motorhead and Iron Maiden.

Then came Ride the Lightning. Metallica still hadn't ironed out all of their contractual deals with Elektra, and I happened to be in London at the time of its initial release. Their UK deal was with the relatively minor underground label Music For Nations, and I just couldn't wait and bought the album at HMV. And dragged it with me for another two weeks. It's a decision I never regretted (and still have my well worn LP copy, that will stay with me until the end).

The album opens with 'Fight Fire With Fire', and that track still gets my adrenaline up. James Hetfield's vocals, as Xavier Russell hilariously noted in Kerrang at the time, was more like "Fight Vodka With Bourbon". It's been almost 25 years since Ride the Lightning came out, and tens of thousands of metal albums have copied every note of this album, with better production techniques and STILL I'm blown away by this cut. Consider that there was a time when I would hear this song almost every day! This is followed by the title track, an awesomely mid paced super heavy song, that is as melodic as it is pulverizing. And so it goes through the remainder of the album. One big jaw dropping event. Especially for 1984. The band had improved exponentially on an already impressive debut. The songwriting has an almost progressive rock quality to it. And the band made a conscious decision to take an intellectual Iron Maiden approach to the lyrics. So instead of metal armies, banging that head that doesn't bang, and other testosterone fueled brainlessness, Metallica opted to sing about the ethics of capital punishment, cryogenics, the anguish of contemplating suicide, the Egyptians perspective of Passover, and musical interpretations of Ernest Hemingway and H.P. Lovecraft. WHAT? How could any one band rewrite the rules so fast?

In effect, Ride the Lightning was so far ahead of the curve it would take years for anyone to catch up. One can argue that Master of Puppets is a stronger album, as it took the Ride the Lightning concept and improved on it. But it seemed a little more clinical and less of the moment. By ...And Justice For All, Metallica were reaching for even more creative ideas. But it wasn't right. Their heart wasn't what would later be called a progressive metal group. It was a bit too wooden for their own good, though still a fine album. And their playing of 'One' at the Grammy's was a watershed moment for heavy metal overall. From here they lost their way to the hardcore original fans... and for many others they were just about to be introduced to a more radio friendly Metallica. But back to 1984, Ride the Lightning has to be considered one of the most revolutionary albums ever made.

Ownership: 

1984 Music For Nations (LP)

2010 Vertigo Japan (CD). Papersleeve

8/17/84 (LP acquired); 6/25/09 (review); 8/10/15

Other albums I own and need to review: And Justice For All; The Black Album; Death Magnetic

6/25/09 (new entry)

One Shot ~ France

Ewaz Vader (2006)

---1/25/07

Like the Academy Awards, when it comes time to nominate the Oscars, Gnosis also has a bias towards certain types of art. And in this context One Shot is definitely "Academy friendly". Gnosis likes either a) the avant progressive school, mixed with a little chamber or original RIO movement (Cuneiform label adds points), or b) we like vicious and complex instrumental fusion. If you can put a Zeuhl spin on it, or even better, possess a Zeuhl heritage, then you win the "best of the year" award. So it's easy to see why Ewaz Vader is running away with the 2006 title. It's a can't miss release with the throbbing bass action expected of Zeuhl music, pulverizing drums, and dual guitar / keyboard soloists. The first few bars had me thinking this might go into the stratosphere ratings wise. But, like the name implies, One Shot is not the type of band to lock into a groove and edit later for more impact. So there's a tendency to run a little long in different places. One Shot are no doubt an A-list group and they're likely to be appreciated by everyone, thus their place at the top. But for individual self-actualization, I'm not sure they have the right stuff for the next layer.

---1/19/26

I closed the debut review below with: "I own three others by them, hopefully they're more interesting to me." And I just finished reading my own review from 19 years ago, almost to the day (which was also my last listen). 

Unlike the debut, the Zeuhl presence is more felt here, as noted in the bass and drums interplay. Even still, I'd submit this is jazz rock first, Zeuhl second. It's hard to root against One Shot, as they have the right sound, the right textures, the right attitude, the right focus, and the right energy. However there is this nagging feeling of sameness that runs through its course. And the "tendency to run a little long in different places" was an accurate assessment. 54 minutes of hard instrumental fusion is a lot, man. This is a title I will hold onto until I can revisit the other two I own, and we'll see what is the most representative and exhilarating. It may very well be Ewaz Vader or all three. That story has yet to be written though. Stay tuned for further episodes, however many years it may take.

Was I right about Gnosis or what? Well you can't see the ratings now, but yea, it was winning when I wrote that. Probably was still in the top spot for 2006 when it shutdown. As for best in their discography, ProgArchives prefers this one whereas RYM goes with the follow up Dark Shot.

Ownership: 2006 Le Triton (CD). Contains a bonus 14:21 video that I have yet to see.

1/25/07 (acquired / review); 1/19/26 (update)

One Shot (1999)

This is the original mix. I bought this when it came out as it promised to demonstrate what the current Magma lineup were doing on their off days when Vander wasn't around. Well it isn't Zeuhl, but rather a heavy kind of instrumental jazz rock similar to the 70s masters. It's well done with excellent instrumentation and sound. However it's very derivative lacking any kind of hooks, composition, or innovation one would look for at this late date. It's a One Shot jam essentially, which was the premise of the group to be fair. This one really is too much of the same thing. A lot of notes but not a lot of music. I own three others by them, hopefully they're more interesting to me. 

Former ownership: 1999 private (CD)

1999 (acquired); 4/30/23 (review)

Also own and need to review: Vendredi 13; Dark Shot

1/19/26 (new entry)

Gryphon ~ England

Treason (1977)

Back to the newly acquired collection. As with Gilgamesh's second album, this is one of those albums I owned through the mid 90s, and haven't heard since. Though I've had a recent reunion with their second effort (see below and he also had this title, which I won't keep). And that album reminded me why I didn't keep four of the five Gryphon albums that I owned in 1995. I had some distant notes from 2001 that stated Treason was a bit more commercial in nature with some Gentle Giant overtones. The latter becomes apparent right away on A1, though the chorus' overstay their welcome. A2 continues in similar fashion. A3 adds in some funk clearly indicating a departure from their English folk roots. B1 goes for a Queen like Broadway play sound. It reminds more of another UK band actually, which completely escapes me and AI is no help (ah yes, Capability Brown). B2 gives jazz fusion a go, why not? B3 could have been amazing like Kestrel but comes across closer to Elton John. B4 was a go for commercial pop with recorders, and you can imagine how that went. Well, one cannot blame Gryphon for trying to be relevant, and they decided to throw a lot of ideas against the wall to see what might stick. None of it, as it turns out, and that was to be the end of Gryphon until a reformation some 40 years later. 

My former rating here was a bit too low, and the opening two tracks had me thinking it was a keeper. But this is an easy let-go. 

Former ownership: 1977 Harvest UK (LP)

1/19/26 (review)

Midnight Mushrumps (1974)  

On the last day of the Austin show some dealers were essentially giving away albums. This one was $2. I can't let albums like this sit for $2 no matter my feelings about them. Been many a year since I last parted with my first copy (mid 90s). I'm not too fond of traditional English folk, even if mixed with prog rock as is the case here. Lots of recorders, krummhorns, and harmonium to frolic in the field with, and I enjoyed a +1 listen. But still not something I need to hold onto. 

Former ownership: 1974 Transatlantic (LP)

5/15/23 (notes)

Also own and need to review Red Queen to Gryphon Three.

Once owned: Gryphon (1973); Raindance

1/19/26 (new entry)

Vortex ~ France

Les Cycles de Thanatos (1979)

Now here's a group, and an album, that I had almost no recollection of. I bought the CD the year before I started taking more diligent notes about my collection. And I acquired the LP almost a decade before that. But I haven't revisited either album since. Let's tackle Les Cycles de Thanatos since it was chosen randomly.

The album opens up like a highly structured and composed jazz fusion album. The playing is very tight and complex, and expert musicianship abounds. One expects music like this to be charted, though unlike many bands in the avant prog space, this album both swings and rocks. I mention avant prog, a posthumous designation, as Vortex would not have known that term, nor were they are part of the ancestor Rock In Opposition movements at the time. They did play, however, with other adventurous French and Belgian groups of the day such as Art Zoyd, Univers Zero, Xalph, Yochk'o Seffer, and Uppsala. And those collectives provide an idea of the music found here. While the first side rocks out, the second goes in more for chamber orchestra composition. Both Art Zoyd and Univers Zero become more obvious references. At 25 minutes, the duration of this side can be a bit trying if not in the mood for intellectual listening. Fortunately they rock out towards the end that relieves the foreboding tension. And provides some Zeuhl sounds not prevalent elsewhere.

The CD adds two bonus tracks that take us back to Side 1 of Les Cycles de Thanatos, though it remains unclear the source of these recordings. We are left to presume from the same session.

Ownership:
1979 FLVM (LP)

2003 Le Triton (CD) with Vortex (1975). Booklet with lengthy historical notes in French and an abridged version in English. Many photos and two bonus tracks from this era.

1994 (LP acquired); 2003 (CD acquired); 1/19/26 (review)

Also own and need to review Vortex (1975).

1/19/26 (new entry)

The Eleventh House / Larry Coryell ~ USA

Offering (1972)

Offering is yet another album that escaped the writing pen even after a UMR era listen. I've had this on both LP and CD back and forth, and while the latter once was expensive, Wounded Bird has made it available and affordable again. Here we catch Coryell in his John McLaughlin spiritual phase, though he swaps violin for soprano sax, not necessarily the best decision. No matter as we're all here to listen to the bespectacled Coryell rip, and he provides plenty for us to absorb. There's some tight unison runs as well. Songwriting and melodies are not the strong suit here. B2 represents the only breather, as the rest of this smokes from beginning to end.

Ownership: 2018 Wounded Bird (CD)

2003 (first acquired); 9/17/15; 1/19/26 (CD acquired / review)
 

Coryell / Mouzon - Back Together Again (1977)

This is a super example of guitar heavy fusion. Coryell never does get the credit he deserves, and just to add to the humiliation, he brings along Belgian guitarist Philip Catherine - another great guitarist who is long forgotten for no reason. The busy and complex rhythm section is made up of Alphonse Mouzon and John Lee on bass. The compositions are strong here, not just showboat material. A bit of period funky business on the second side only adds points for me. Excellent as far as I'm concerned. 

Ownership: 2002 Wounded Bird (CD). Booklet with recording details.

10/10/24 (LP acquired / review); 1/3/26 (CD acquired / update)

Planet End (1975)

The album represents two different sessions, but unreleased at the time: 1970's Spaces and 1974's The Eleventh House. Also included is one Coryell solo guitar piece which serves as an interlude. I prefer the heavy fusion of the Eleventh House, and both of these tracks would have fit great on the debut. No surprises if you're familiar with that album. Even though they represent half the tracks, it's only about 30% of the time (10 minutes). I'm less familiar with Spaces, a much more "out" setting reminding me some of Wolfgang Dauner's work from this period. Fairly raw and a mite untogether that is, of course, the point. Not an easy listen, but not uncomfortable either. This version of the band represents about 60% of the material here (about 20 minutes). In essence, Planet End is more geared towards the Spaces audience with some extra mid 70s fusion punch.

Ownership: 1975 Vanguard (LP)

12/19/22 (review)
 

Level One (1975)

I personally feel that Level One is a half step up from the debut. All the edgy instrumental work has stayed in, but with stronger songwriting this go round. Coryell's fiery guitar work remains intact, and there's quite a few melodies to latch onto. A very good fusion album. As for the cover, I think we can lay claim that Coryell is the original Leisure Suit Larry.

Ownership: 1975 Arista (LP)

7/3/12 (CD acquired); 2/14/13 (review); 9/21/20 (LP acquired)

At the Village Gate (1971)

At the Village Gate is a very interesting album from jazz guitarist Coryell. I've heard quite a few of his albums prior including the Eleventh House works, and they follow similar fusion / jazz rock paths as laid out by John McLaughlin / Mahavishnu Orchestra, Wolfgang Dauner's Et Cetera, Return to Forever, and Weather Report. In effect, musicians born out of jazz but with a strong interest in rock music. So even though I had read this album to be different, I wasn't expecting it to really be that way. And I was to be proven wrong.

At the Village Gate truly is an instrumental psychedelic rock album. This is very much in the realm of Jimi Hendrix and Cream. Perhaps not as intense as the burgeoning Krautrock movement of early Ash Ra Tempel and Guru Guru, but take away some of their more excessive moments, and you arrive At the Village Gate. The guitar tone is decidedly psychedelic with plenty of effects applied, while the rhythm section is constantly on the move. "Busy" as the liner notes suggest. For the style, it's a bit subdued, but for an experienced jazzer like Coryell, it's definitely risky and on the edge. For my tastes at least, it's the best album I've heard by him.

At the Village Gate is a relatively obscure album for a marquee name such as Larry Coryell, who sadly passed away recently. Real Gone has provided the first legitimate reissue on CD in 2017. Don't miss it this go round if what I say above resonates.

Ownership: 2017 Real Gone (CD). Liner notes.

3/7/18 (acquired / review)

Introducing The Eleventh House With Larry Coryell (1974)

No doubt that guitarist Larry Coryell, seeing the success of peers such as John McLaughlin, Chick Corea, and Joe Zawinul, stated something along the lines of "Hey, I can do that!". And so he compiled his own all-star lineup including legendary players such as Randy Brecker (trumpet) and Alphonse Mouzon (drums). And off to the studio they went, to demonstrate the immense amount of chops they possess. The songwriting on the debut is a bit of an afterthought - rather its sole purpose seems to be a springboard for complex instrumental sections and showboating solos. Still it's always great to hear musicians, as talented as these guys obviously are, to plug in and rock their brains out. All the mid 70s musical trappings are baked in here - so you'll get your fill of rock, jazz, funk, and tropical. You can't miss on this one if fusion is your bag.

Ownership: 1974 Vanguard (LP)

2005 (CD acquired); 2/13/13 (review); 6/7/22 (LP acquired / update)

Other albums I own and need to review: Barefoot Boy; Aspects

2/13/13 (new entry)

Egg ~ England

Egg (1970)

---Feb 2005

I really love the structured songs on here, some of the earliest prog rock compositions ever written. Much of 'Symphony No. 2' is pretty noisy, with lots of organ freakout. Not necessarily a bad thing, though in this case it's fairly directionless.

---1/19/2026

I thought I'd written recently about Egg's debut, but I was confusing it with The Polite Force. Not that I have that much more to add to those notes above from 21 years ago. A3 has similarities to fellow Canterbury travelers Caravan, primarily with the keyboard progressions and soft, affected singing style. A4 dips its toes into Classical waters similar to ELP. Something of a "credibility" move back then. A6 is their Soft Machine II moment, with its punchy organ trio motif, and arguably the highlight of the entire album. A7 has some uncredited mellotron for its one minute of noise. What I said above about the side long 'Symphony No. 2' remains true. When I reread my notes I was thinking perhaps the organ freakout was more of a Krautrock nature, sounding like Aardvark on their sole album. Oh no. It's just noisy. Painfully so at times. Not sure of the allure of these parts of the composition. So a real hodge podge of structured Canterbury styled progressive rock and messy improv. Legendary work, and a keeper, though one wishes for more consistency.

Ownership: 1974 Deram (LP)

1990 (LP acquired); 1998; 2//05 (notes); 1/19/25 (review)

 

The Civil Surface (1974)

---Jun 2006 

Recorded four years after The Polite Force, but not really sounding all that different or "modern". The wind quartet being the unusual twist here. When Egg are on, they create some of the most engaging music ever. Like most Egg albums, tends to lose momentum at the end. Seems like Supersister proved you could do the fuzz organ, fuzz bass, drums bit for a whole album and not be boring.

---12/28/24

This last Egg album has never been an A-lister for me. A1, A3, and B2 are your highlights, but they never go to the next level, more or less regurgitating snippets of the past. And the wind quartet is dull honestly. As genius as Dave Stewart most certainly was, this album seems more like a contract obligation work. Stewart was to regain his mojo soon after with Hatfield and The North.

Former ownership: 1974 Caroline (LP)

1991 (LP acquired); 6//06; 6/3/16; 12/28/24 (review)

The Polite Force (1971)

The album opens with the 8+ minute 'A Visit to Newport Hospital', which is a quintessential Canterbury like number. The opening chords will remind one of Black Sabbath, except as played on the organ! From there, the track unwinds into a marvelous jazzy progressive piece, with those trademark fuzz organ solos, and whimsical melodic British vocals. It is, in fact, darn near perfect. If only the whole album was like this! The 4+ minute 'Contrasong' continues in the same manner, perhaps a bit more towards the jazz spectrum. And then.... Egg completely lost their minds. 'Boilk' is 9+ minutes of painful improvisational noise. One begins to question if there are indeed Homo Sapiens in the room at all. I often wonder why bands of immense talent like Egg feel it necessary to demonstrate that they too can play like a 3rd grader on their first music lesson. What a waste of time really. This leads to the side long track appropriately titled 'Long Piece No. 3'. It's an encapsulation of everything Egg was about up until this time. Wonderful progressions, and memorable melodies, offset by tuneless improvisation. Fortunately Egg cut the excess on the latter, and the composition as a whole is thoroughly enjoyable. A fine album, stripped of masterpiece status due to a near 10 minute nasty stain. Tragedy that.

Ownership: 1971 Deram (LP)

1990 (LP acquired); 2//05; 8/12/15 (review); 6/2/16

Also own and need to review Arzachel which I might as well add here.

8/16/15 (new entry)

Kornet ~ Sweden

Kornet III (1979)

Funny to be hearing this album four years to the day since I last heard Kornet's debut. Their third and last album sees the band playing more towards traditional jazz fusion, as presented going into the 1980s. A3 is an Egyptian traditional, but it comes across more as a novelty piece rather than a serious world fusion effort. Kornet are no Embryo that's for sure. B1 adds in a full brass section, though despite having a large photo expose, their presence isn't that much felt. Final ten minute track is atmospheric, and would constitute my favorite. A whole album like that would have resulted in a high level new age effort. Instrumental highlights include Stefan Bjorklund's electric guitar and Stefan Nilsson's Rhodes and Minimoog. A good effort overall, with fine musicianship, though not enough to distinguish itself for shelf space.

Source: 1979 Svenksa Love / Pick Up (LP). Inner bag with recording details.

1/18/26 (review)  

Kornet (1975)

Here's another old CDRWL entry that I heard last night, and which resulted in a +1 listen. Probably because I'm really enjoying jazz rock / fusion at the moment. This one opens up just as the recently posted Return to Forever closed down. Wait a minute... Ah, but this has plenty of flute and light sax to differentiate, along with the usual guitars, keyboards, rhythm section. Strong melodies, some excellent hard rocking instrumentation, including good solos. It's definitely a mid 70s Euro Fusion album, taking the best of the American pioneers and mixing in their own hidden recipe. Easy rec for fans.

Ownership: 1975 Manifest (LP) 

12/23/09 (first listen); 1/18/22 (LP acquired / review)

Also own and need to review Fritt Fall.

No reissues for any of their albums as of 1/18/26.

1/18/22 (new entry)

Gilgamesh ~ England

Another Fine Tune You've Got Me Into (1978)

I just came into possession a wonderful prog and jazz rock vinyl collection, thanks to a dear reader of this blog. I will be forever grateful to that gentleman and his wife for their generosity. This constitutes the first album from that collection that I am either revisiting after many years, or hearing for the first time ever. I will be interspersing these listens with my regular regimen. It will take at least a year to go through. In a word - fun. 

For the below review I wrote: "Obviously at some point I need to revisit their two albums again as well.". And here we are, some seven years later doing just that. I have no documentation of this album anywhere in my vast notes, so it's an LP I haven't heard since the 90s for certain. I do remember buying it on a road trip though, thus the first date is accurate.

Another observation from the below: "But if taking Gilgamesh as a jazz rock fusion band, rather than pure Canterbury, the contents are easier to digest." And that's even more true on this album than on Arriving Twice (and the debut I suspect). There are no raveups here whatsoever. It's a smooth, yet complex, jazz rock album. All instrumental, it almost sounds like a Canterbury ECM album. A niche within a niche I suppose. I can get into this when in the mood for some atmospheric grooves.

Ownership: 1978 Charly (LP)

11/9/91 (LP acquired); 1/18/26 (LP reacquired / review)
 

Arriving Twice (1975 / 2000)

When I first picked up the LP of In the Land of Grey and Pink by Caravan at the tender age of 19, I had become an instant Canterbury fan. One that carries to this day. Throughout the remainder of the 1980s I bought everything I could that was related to the genre. Of all the major bands from the scene, Gilgamesh was decidedly my least favorite. I just couldn't understand the allure here.

In 2000, even though I'd already waved off the first two studio albums, Cuneiform released Arriving Twice. This CD promised to be for Canterbury fans who didn't like Gilgamesh. It was rawer, more rocked out. I bit that bait hard - and found myself flopping in the boat barely breathing, getting prepared to become suppertime. To me, it was the same ole Gilgamesh. What is with this band and why does everyone say they are so great? I don't get it I plea'd! 

Well it's 18+ years later, and I haven't heard Gilgamesh since then. Here comes the ever present cheap CD copy wafting by. "Try me again?" it flirts. Yes, CDs and LPs talk to me. I was just explaining that to some nice lady in a white coat the other day. "Yea, sure, OK why not?" I replied.

After hearing the opener 'With Lady and Friend' I'm saying to myself, what the hell Genius Hans, that's exactly what I love about Canterbury! Fuzz organ and raw guitar, just as it is written in the Bible. But it was fleeting and the 18 minute 'You're Disguised' pops in and then I started to hear the Gilgamesh I was more familiar with. But.... I like it now. And why is that? Well it's true that Gilgamesh aren't my favorite sort of Canterbury. They are very much coming from the improvisational jazz wing of the school, and they don't always rock out as I would prefer. But if taking Gilgamesh as a jazz rock fusion band, rather than pure Canterbury, the contents are easier to digest. I've said it many times, but setting expectations is a dangerous thing to do. When I was younger and money more scarce, each dollar had to count. I didn't want mediocre, I wanted greatness every time! The problem there is I was bringing my filter, rather than letting the music come to me.

There's close to an hour of material here, almost all of it very good. Much of the contents are variations of what showed up on the debut album with a few unreleased tracks thrown in at the end. Obviously at some point I need to revisit their two albums again as well. Enjoyable on the whole for certain.

Ownership: 2000 Cuneiform (CD). Booklet with liner notes giving the complete musical history of Alan Gowen and the genesis of Gilgamesh, covering the years of 1966 to 1974. Excellent sound as well for this sort of thing.

2000 (first acquired); 2/15/19 (reacquired / review)

Also once owned: Gilgamesh (1975)

2/15/19 (new entry)

Savatage ~ USA ~ Tampa, Florida

Poets and Madmen (2001)

I wasn't planning to revisit the Savatage catalog so quick but the random number generator thought differently. As noted on Hall of the Mountain King, I have almost no history or recollection of Savatage's material outside of the 1980s. At this stage of their career, they're all in for storybook albums, and what is loosely called rock opera. Or metal opera. None of which appeals to me really, as lyrics have never driven my appreciation level all that much. And classical styled chorus' are also not something I cherish to listen to. As for the music, I'm pleasantly surprised by the fat and creative riffs, a hallmark of the Savatage sound. Piano and synthesizer add-ons are much welcomed too. Jon Oliva doesn't sound quite the same here, though age I'm sure has something to do with this. 

As I catch up on Savatage's history, it's interesting to read that band leader Jon Oliva says that Savatage without brother Criss (who died tragically in 1993) doesn't really sound like the band. I know what he means, though I'm not sure even the early 90s material have resonated with me either. They're not bad at all, just they fall out of my interest area. Seems Savatage will always be a band of the 80s for me, more specifically a band that existed solely in my college years (1983-1987). Even though I bought a sealed modern LP reissue of Edge of Thorns, I may sell it and eventually grab a cheap CD for a revisit if I see it. I owned it before on CD, and moved it out. I doubt my viewpoint has changed that much in the last decade honestly.

Poets and Madmen was to be the end of the line for Savatage. However it appears the story isn't going to end just yet, as they are working on a new album called Curtain Call, to be released this year (2026). Of course Savatage have gone through various fits and starts in the last 25 years, so who knows? Perhaps this will be their Coroner moment.

Former ownership: 2001 Steamhammer (CD). Box set with sticker and poster. Booklet lays out the story, and includes lyrics plus a photograph of a pretty lady associated with the story.

4/7/17 (acquired); 1/5/26 (review)
 

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)

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

12/4/16 (new entry)