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 (first listen); 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)