2026 Classic Rock / AOR Journal Vol. 1

Mike Pinera - Isla. 1978 Capricorn (LP). When I found this album in the 25 cent bin recently, I said to myself that I know this name but cannot remember why. Oh, that's right, he was the guy who shared the marquee with Iron Butterfly on their final first phase album. I couldn't tell you anything about his contributions there, an album I didn't exactly praise too highly. His recording career is quite extensive, beyond his own solo works. He's also the guy behind the label Illusion, which is filled with collectable titles. When deciding if I wanted to waste valuable time listening to this album (a beauty of a copy too), I read it was Yacht Rock. Like many of my generation, I have a sort of fondness for the cruise ship era, even if it was just a tad before my own high school years. And you know, the tag definitely fits. It's definitely rock oriented, not a cover-up for smooth jazz funk. Pinera plays a pretty mean guitar too. It seems he's on the verge of being the next Frank Marino, before jumping back onto the boat. Love the period synthesizers, and even some old fashioned organ can be heard. Good head boppin' and toe tappin' music. Were this a private release - say on the Illusion label haha - then it would be an easy three figure album. But alas, it's not. (4/6)

Azteca - Pyramid of the Moon. 1973 CBS Netherlands (LP). I've had this LP since 2003, and I don't think I've heard it again until today. During that period, my interest in Latin Rock has shot up considerably. Especially considering bands like Malo, Naked Lunch, Sapo, and Sincerely Antique. I was very familiar with Chango and Dakila back then, and I think it would have been unfair to expect every Santana influenced group to sound like those two. Even before owning this LP I had the debut on CD. It never clicked and I sold it off many years ago. In hearing Pyramid of the Moon I can understand why I did that. This isn't the raucous sound we've become accustomed to from the early 70s. Definitely more Latin soul influenced. Not to suggest there aren't moments of goodness here. Would have loved to hear more guitar from Neal Schon, as but one example, but he only guests on one track. Overall it's a smooth and commercial sound. Comparisons to Sergio Mendes wouldn't be unfair, from a glossy sound standpoint. Not something I need to hold onto at this stage. (2/17)

Offenbach. A&M (CD) (1977). Montreal's Offenbach is one of those groups that I've read about since the 1980s but never actually heard. This self-titled album is their 6th release. What you get here is nine short blues rock tracks with grungy guitar not much different from early ZZ Top. Most tracks mix in old fashioned rock n' roll, and couple of creative bits including organ and flute. Too straightforward overall for me though. (1/24)

The Open Window ~ USA

---Nov 2005

The Open Window is truly an oddball album (on the truly oddball label Vanguard). Very arty, with three non-percussion artists. Apparently Peter Schickele is known in avant-garde circles and has a full blown website (he's PDQ Bach as it turns out). This album is barely mentioned, probably a blemish on his record (as far as he's concerned). There's some fuzz organ here which I was drawn too.

---3/19/11

Perhaps the original avant progressive album. Despite featuring a psych album cover, the group clearly has an academic pedigree, while the music is rooted in both classical and jazz. Basically a trio of three keyboardists, with organ (some wonderfully fuzzed out and compressed), electric piano, acoustic piano, electric harpsichord, and clarinet. There are some oddly placed vocals, that give it a offbeat rock feel. Chamber jazz avant classical? Yea, I don't know how to describe it either.

---4/6/26

I had totally forgotten about this album. I sold off the copy above about a decade ago. Then found it again recently in a local record store's buck bin. I can't let it sit there for that price! I had also forgotten my notes prior, but it becomes clear from the above the album is almost unclassifiable. It's progressive for 1969, but not really progressive rock. And one feels compelled to throw a psychedelic tag on it, especially given the cover art. Stanley Walden's organ playing is the standout for certain. Or perhaps the sound rather than the technique. There is a bit of an early Soft Machine feel here, though I think it's coincidental. I was glad to revisit this title, and appended a +1 while at it, but still not something that is necessary to keep.

I never added this to the CDRWL, probably concluding it was out of scope. No matter, as in 2015 it was reissued anyway with bonus tracks.

Former ownership: 1969 Vanguard (LP). First acquired in 2005. Reacquired in 2026.

11//05 (notes); 3/19/11 (review); 4/6/26 (update / new entry)

Passport ~ Germany

Infinity Machine (1976)

---5/24/07

Infinity Machine is a fascinating experiment, which allows the listener the opportunity to fantasize what it would’ve been like had Tangerine Dream released a jazz album. Why you may ask? Check out the sequencers that dominate one half of the album.

---4/6/26

Had this noted in my "need to revisit" list below. Found a cheap copy at the last COS record show, so let's try it again.

I wasn't really quite sure what I was going on about in my original review. All of Side 1 is a typical funky type of fusion. Well done, though not particularly memorable. The title track opens side 2 in a more dynamic fashion. The album's highlight is the lengthy 'Ostinato' where Kristian Schultze gets busy with the synthesizers and mellotron. It's this track that I was referring to, though it's only half of a side, not album. The closer of both sides are of an introspective nature. Good album, which was my initial assessment, but not enough new revelations, beyond the one track as noted above.

Source: 1976 Atlantic (LP)

5/24/07 (notes); 2/8/14; 4/6/26 (update)

 

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). Acquired in 2026.

1/20/26 (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). Acquired in 2023.

11/18/15; 4/15/23 (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). Acquired in 2022.

3/7/19 (review); 3/11/22 (update)

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

3/7/19 (new entry)