Hooffoot ~ Sweden

Phantom Limb (2025)

Phantom Limb is the third effort from the Swedish retro prog / jazz rock band Hooffoot. I documented their debut, but never did get around to writing anything down for their second. I'll get to it eventually.

Without having the context of their sophomore effort in mind, I'll have to jump from the debut to here. Well, for one, there's no Latin culture influence this time. It's much more entrenched into the jazz rock world of the early 70s, but without the pyrotechnics often associated with the style. The music is composed with improvisation tightly controlled yet visible, making it for an enjoyable and entertaining session. Hooffoot leaves you guessing where they're going next, which is usually a hallmark of a great album and is the recipe for new results on repeated listens. The instrumentation remains steadfastly retro, sticking with analog gear pre-1980. 

As always, it helps to have a reference album to grab onto. Provides the guardrails for a comfortable listen. They aren't near as jumpy as, say, Anglagard, Wobbler, or that branch of the Scandinavian retro prog tree. I couldn't find what I was looking for in UMR, so I dug through my hard drive. Maybe Metrognom? Who remembers this Norwegian band from 2006 whose sole album Twangyluck came and went without much notice? That album also possessed four lengthy instrumental pieces. They did, however, also feature sax, so a diversion, but that may be the closest I get here. I need to revisit that album and place it here in UMR. Of course, Berits Halsband (noted below) also had four instrumental tracks as well, though they were a bit more psychedelic and featured trumpet.

For me, especially at this point. Hooffoot's Phantom Limb is extremely easy to listen to. As I said about Viima's last album, it's so very much in my comfort zone. Perhaps even more so. You won't hear me say this too much these days, but I'm very much looking forward to their next album, and I'll pounce on it quicker next time.

Ownership: 2025 Paura di Niente (CD). Embossed trifold digipak. Acquired in 2026.

3/2/26 (review)
 

Hooffoot (2015)

Hooffoot are from the southern Swedish city of Malmo, and are an excellent representation of a Swedish progressive rock band... from 40 years ago. Like their forefathers, the band is rooted in jazz, but fascinated with rock. And Latin culture. Sound odd? Not in Sweden would it. So combine Kvartetten Som Sprangde, Sabu Martinez, Ablution, and Mendoza together. Then go back exactly 40 years to one of the all-time Swedish jazz rock greats, and just now being discovered (finally): Berits Halsband. "Oh hello Miles Davis, Kebnekaise, and Flasket Brinner - nice to meet you!". And then enters the room this jumpy, kinetic 90s group called Anglagard (perhaps you've heard of them?). Funnel the lot of them into the blender and grind, mash, grate... Hooffoot. 

Ownership: 2015 Paura di Niente (LP). Gatefold. Acquired in 2016.

2/12/16 (review); 8/3/17; 11/10/25

Also own and need to review The Lights in the Aisle Will Guide You.

2/12/16 (new entry)

Spirit ~ USA ~ Los Angeles, California

Clear (1969)

The standard narrative here is that Spirit's first two albums are classics, but their 3rd was thrown together, and is a lesser (but still good) effort. Apparently the band themselves felt that way as well. 

Some folks point to the use of instrumentals as proof. Yea, I mean, we wouldn't want music to get in the way of a potential smash hit. B1 is brilliant, something you would think came from an English prog album a few years later. Leading the way, of course, was King Of The Clucks critic Robert Christgau, a loathsome (in many ways) holier-than-thou creature that I point to as responsible as anyone for holding back everything I enjoyed in music, especially progressive rock and heavy metal. I remember his crappy guides from the 80s where he derided every single prog album that I liked. Can you imagine what he'd say if he'd heard the hardcore Italian ones? Oh good grief. I can only imagine the reviews from future historians that state "speaking from the era in which he lived, misguided critic Robert Christgau opined the following:" Haha. How did I get here? Oh I just saw he criticized 'Ice' as "indicative of how "incredibly empty" the band can be as well." Yep, right out of his playbook. Triggers me. The Dean of American Rock Critics - my butt.

So is it correct to say that Clear is a step down? Hmm, that's a tough one. There are a few lesser songs on here, especially on Side A (3,5,6) which is their bread and butter talent. But they also bring some crisp 1969 styled psych singles to the table. And I like the classical and jazz oriented instrumentals. I appreciate when a successful band experiments with the formula a bit, regardless of the circumstances. The Beatles made a career out of doing just that. Don't hear anyone say boo about them, now do you? Right, Christgau? Ironic he has Christ in his name, actually.

The bonus tracks include '1984' which was my introduction to Spirit way back when I was an early teen. I liked it then and I still do. I just could never figure out which album it was on. Haha. I didn't know it was a 45 only release until many years later.

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

10/22/21; 3/2/26 (review)
 

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)

True Myth ~ Canada ~ Ontario

True Myth (1979)

---12/14/09

Much was made at the time of release that True Myth's sole album was the first ever all digital recording from Canada. I guess it's ironic, then, that the album remains unissued in digital format. This is obviously a big budget affair, complete with a thick gatefold cover, lengthy liner notes, and a brilliant production. Musically, even though it's from Canada, it has much in common with the US Midwest prog rock scene of the mid 1970s. 1979 was a little late for an album like this, and there's the expected obvious commercial AOR moves. Excellent high energy piano work recalling Festa Mobile, for an obscure reference. A good album that is generally panned by the progressive rock community. But I have a soft spot for this kind of stuff and recommend it to those who like groups such as Ethos, Styx, and Sunblind Lion.

---3/2/26

That entry was for the CDRWL, and shortly thereafter, a CD appeared out of Japan on Belle Antique. The album now makes its debut on UMR. 

Named for keyboardist and principle songwriter Tom Treumuth, the London, Ontario based band were blessed with a large budget. How successful album sales were would be anybody's guess, but there's plenty of supply in the used marketplace. I didn't mention it above, but once again Gentle Giant can be used as a reference here, a very common occurrence for the region. In reflection this album really should have made the big time. It has everything that was expected from the era, including great songs, production, and musicianship. Special mention goes to guitarist Tony Cook who lights it up on more than one occasion. Excellent mellotron on B1. In reflection, the album is more progressive rock oriented than I had realized before. All the short form tracks pack in a lot of ideas per bar.

Perhaps it was just too progressive for its own good, and there really isn't any notable hooks that linger after the listening session has stopped. Which is why novelty records tend to do better in real time, though they rarely age well. A3 was probably their best shot, sounding quite a bit like same era Supertramp.  An impressive debut, but sadly it was to be their last. Though there's no doubt the band would have been forced to adapt to the upcoming New Wave trends or go underground. The latter option would be doubtful.

Ownership: 1979 Warner Bros. (LP). Gatefold. Multi page poster lyric and historical insert made to look like tractor feed printer paper. Acquired in 1992.

1992; 12/14/09 (review); 3/2/26 (update / new entry)