Myrth ~ USA ~ Phoenix, Arizona

Myrth (1969)

---5/12/15

I'd say within the horn rock spectrum, Myrth tracks closest to Ides of March. The vocals are gruff, and the music is hard charging. The horns are tight and well charted. And, yes, there's a commercial slant to some of the material, that is wonderfully offset by more progressive leanings. This is exactly the style of music you'd find on Ides of March's Vehicle, a much under appreciated album in my eyes. It remains debatable if the horn rock era will ever find a new fan base after its initial run. But if it does, Myrth should be an early consideration.

I haven't been able to discern where Myrth originated. The album was recorded in Hollywood, and it would seem given the logistics of a large ensemble, that southern California would be the logical source. But I've also found references to Utah and Arizona, that are possible but not conclusive. 

---5/4/26

That was the CDRWL entry and now the album makes its debut into the UMR. At one point, I kept albums that needed a reissue separate on that blog, even if I owned the item. I'll be moving quite a bit of albums over here, as I'm now getting to that part of my collection.

My original review still stands. I would also submit that the reason many of these horn rock albums didn't make it, and Myrth is no exception, is the lack of a memorable song. While the ten tunes on display are well written, the obvious chart tries fail to deliver. Not everything is geared for the radio, and there you will find the better compositions. As you will see in the video below, the producer also suggests that RCA had no idea how to market the record.

As for the origins of the band, we now have the complete story from their producer John Florez. This is well worth watching, and it also explains the annoying bird lol. Myrth story.

Ownership: 1969 RCA (LP). Gatefold. Acquired in 2015.

The album remains without any kind of reissue as I enter this on 5/4/26.

2008; 5/12/15 (review); 5/4/26 (update / new entry)

Eulenspygel ~ Germany

Eulenspygel 2 (1971)

Eulenspygel 2 is known prominently for two things: 1) The German lyrics and 2) The chicken leg cover. Funny that I just finished focusing on the language situation with Novalis, but it was even more dramatic in 1971. Apparently only pop groups used German in those days, and no one would take a rock band seriously unless English was used. Today it almost seems code for the subgenre known as Politrock, and sure enough, that is precisely why they used the native language. According to the liner notes of the CD, the lyrics are a trite type of anti-war messaging, and not very interesting.

Musically, the album follows a heavy blues rock pattern, with some Krautrock atmosphere and production. Lengthy jamming on the organ with flute accompaniment also points to the German underground. Vocals can be dominant when Detlev Nottrodt takes the mic. From a comparison standpoint I was reminded of Franz K. and Hanuman, other early German bands with a native lyrical message.

I'm pretty certain I had this on LP in the late 80s, but it wasn't what I was seeking at the time, and traded it out quickly. Today I enjoy it within an historical context, though certainly not one of the highlights of the early 70s Krautrock scene.

As for the cover, the missing chicken leg in the frying pan apparently set off the mores of the German publik, and the second pressing removed it. According to GoD, this later pressing is actually more scarce than the original.

Even though this is the debut by Eulenspygel, the title indicates differently. From the viewpoint of the group, Eulenspygel was an extension of Royal Servants, who had released an album the year prior. There was also a recorded English version of this album on master tape, though apparently no copies exist today.

Ownership: 1999 Garden of Delights (CD). Booklet with a full history and archival photos. Acquired in 2011.

11/5/07; 3/14/11; 5/4/26 (review)

Also own: Ausschuss

Once owned: Eulenspygel (1979)

5/4/26 (new entry)

Novalis ~ Germany

Novalis (1975)

---Jun 2005

I always forget how good this record is until I hear it again. What great sounds they managed out of their guitars and fat keyboards. Fantastic and memorable melodies. And, if nothing else, Novalis proved the German language is a fine vehicle for progressive rock. Shame more groups from there didn’t follow suit. The heavily accented English doesn’t always cut it. Maybe the modern groups are better, since they learn the language earlier + many are in the metal camp, where the accent is easier to hide amidst the noise and chaos. Anyway, this one is a classic for sure.

---5/4/26

Well I certainly reference this album enough, including below. So it's about time I'm listening to it again and formally adding it here to UMR. I hold it as a great example of the melodic symphonic prog bands coming from Germany starting in the mid 1970s. This isn't Krautrock, but rather a new type of progressive rock, unique to Germany. Including going back to their native language, something the nation seemed loathe to do only a couple of years prior. Despite the change in language, the album is largely instrumental. Lutz Rahn puts in a splendid performance on both organ and synthesizers. The addition of Carlo Karges (previously of Tomorrow's Gift) on guitar gives Novalis the extra punch they needed.

The opening sentence of my review from 2005 ends up in the gospel truth category at this point. An indispensable album.

Worth noting the beauty of the cover, one I frequently display on my Wall of Albums.

The CD adds an excellent and energetic version of 'Impressionen'.

Ownership: 

1975 Brain (LP). Gatefold. Green label. Acquired in 1989.

2005 Brain Japan (CD). Papersleeve gatefold. English and German booklet with history and archival photos. Contains one bonus track. Acquired in 2005.

1989; 6//05 (review); 5/4/26 (update)
 

Sommerabend (1976)

Recently I finally penetrated the debut Banished Bridge, capturing a drifty Krautrock vibe that I had missed prior. And the second album is the one I'd always held in the highest esteem (another one I need to revisit). As the years go by, I value melodic songwriting more and more, and that's right in the wheelhouse of this era of Novalis. So with all of that as background context, and the fact Sommerabend is typically rated the highest by fans, I figured this would be the listen where the album opened up for me in a big way.

Nope. In fact it took a step back. But at first I was highly engaged. The instrumental 'Aufbruch' is exactly what I was expecting, with memorable melody lines, and creative breaks. It is on 'Wunderschätze' that the albums begins to break down. At first, my positive bias carried it through. But a second listen had me realizing where the problem lies. And that's because the side longer title track doesn't hold up as well, and reveals this material weakness. Now I'm not suggesting it isn't any good - of course it maintains that melodic and spacey vibe Novalis is known for - but it gets a bit... dull on occasion. Whereas Banished Bridge maintains this Dom like downer mysterious vibe, Sommerabend just sounds mopey dopey at times. Perhaps the band is too sober by 1976. It's more like same era Eloy / Pink Floyd verse the more sprightly sound that Novalis seems to have patented, and exploited more on their sophomore effort.

Ownership: 1976 Brain (LP). Green label. Acquired in 1993.

12//93; 1996; 6/3/13; 10/11/17 (review)

Banished Bridge (1973)

Novalis' debut has taken me a long while to digest. When I think of Novalis, I think of a band that is highly melodic, polished, superbly arranged, with sparse vocals in German. Banished Bridge is none of those things. Novalis' debut has about as much in common with the rest of their output as does Eela Craig, Scorpions, and Eloy's opening moves. I've often read that Banished Bridge sounds like early King Crimson, or even other more established UK prog bands of the era. I don't hear it myself. Maybe Wenzel occasionally sounds like Greg Lake, but with a thick German accent.

Still, what is it that we have here? I've owned this album in one form or another since the late 1980s and I couldn't tell you. Time to figure it out.

It's the title track that really throws one off the scent. So finally I decided to listen to Side 2 first. On these three tracks we have a fairly typical organ based Krautrock sound, very much what you would expect to hear in 1971. So from that angle, Novalis are behind the times, but still pleasant. Solid 3.5 material.

But the title track, this is the secret of the album. Basically it's a symphonic prog version of Dom's Edge of Time. What? Well... there are these long stretches of tranquil / drone trip-out music with mumbling downer vocals in English that do in fact recall a mold infested bridge-to-nowhere in the countryside. Out of the depths of depression rise the organ and synthesizers, which provides the perfect contrast. And so it goes between both styles for its 17 minute duration. Awesome. Had this been side 2 instead, I'm sure this album would be more highly regarded today. It sounds like a side 2 honestly.

Personally I think this album is a lot more "true Krautrock" than ever given credit for. After this, Novalis along with Eloy, pretty much defined the German variation of symphonic progressive rock. Almost the antithesis of the raw Krautrock sound we've been accustomed to.

Ownership: 1973 Brain (LP). Gatefold. Green Brain Metronome. Acquired in 1989.

5/23/89; 1997; 3/17/17 (review); 11/9/25

Vielleicht bist du ein Clown? (1978)

Once hearing Vielleicht bist du ein Clown?, you'll realize this is where Novalis has been heading for some time. They were never the most complex and densest of writers, and most of their compositions were rather straightforward. But they had a tendency to drench it heavily in dressing, giving it more of a superficial progressive rock feel. Where Novalis shines is their ability to write beautiful melodies, along with very pleasant instrumentals. So it was only logical the group would eventually trim the tree so to speak, and get down to their core competencies. I'd even argue this is stronger than their last recognized progressive rock album Brandung. Of course, Novalis are now on the slippery slope to commercialism, and have started to become more irrelevant to the average progressive rock fan. But this one is a nice transitional album. Better than most that tried during this era.

Former ownership: 1978 Brain (LP). Acquired in 1990. Downsized in 2019.

1990; 12/11/16 (review)

Other albums I own: Brandung

Other albums once owned: Konzerte

12/11/16 (new entry)

2026 Revisits of prior UMR entries Vol. 3

Recently I've been adding new entries to the old CD Reissue Wishlist. I'm finally checking out albums that I've been compiling on lists for the last 10 years. Check it out!

And while I'm carnival barking, be sure to also check out my 45 reviews site. Many new entries!

Roberto Colombo - Botte Da Orbi

Bulbous Creation - You Won't Remember Dying

Opus 5 - Serieux Ou Pas

Triangle (1970 France)

Nova - Wings of Love

Ibis (1974 Sweden)

Round House - 'Scuse Me

Porcelain Moon - ...As It Were, Here and There

La Bocca della Verita - Avenoth

Drama (1995 France)

2026 X-Wave Journal Vol. 1

*Love Spirals Downwards - Idylls. 1992 Projekt (CD). Purchased this way back in 1994. About four years ago I wrote about a band called Heavenly Bodies, a group I'd never heard before, but found themselves under the genre of "Ethereal Wave", a genre I'd never heard of before. At the time, I didn't realize I owned anything in that genre, though I did refer to Dead Can Dance which does intersect at times. I own plenty by DCD. I had completely forgotten about Love Spirals Downwards. There was a brief time around 1993 to 1995 that I was branching out into all sorts of directions. I was a bit groundless in my personal life (though professionally I was doing well) and lived in three different metro areas (DFW, Colorado Springs, and Denver). These experiences typically leads to exploring other avenues you would not necessarily drive down otherwise. Getting out of one's comfort zone is what we'd call it today. Today I hear Idylls with fond remembrance, and also it serves as a reminder that it wouldn't be such a bad idea to add a couple of more titles in this genre to the collection. The angelic female vocals against the electronics and guitars, creates such lovely soundscapes. I often refer to the 90s as the great decade, as it was the trajectory launch for me personally. So I tend to be more subjectively positive about albums like this. It was a point and time and Idylls brings back that era for me. Beautiful music really. If I find any of their other albums in the wilds, I'll be sure to build out a page for them. (4/30)

*A Flock of Seagulls - Listen. 1983 Jive (LP). I've owned this album since it was first released, and was one of the earliest New Wave albums for me to purchase. It has a haunting atmosphere that I find appealing, and the melodies have stickiness. They were much better than their reputation suggests, that of a vapid hairdo group. Their look, and their timing on the worldwide stage, gives the wrong impression. While they certainly weren't Berklee graduates, they did offer a lot of great ideas in their early years. To me they are one of the more representative groups of the English synth pop movement of the early 80s. (3/16)

Group 87 - A Career In Dada Processing. 1984 Capitol (LP). I had heard this album prior, many years ago, and appended a very low grade to it. As the first couple of tunes blow by, I can understand my initial disgust. Primarily the slick-as-a-butter-dish production, 80s drum machines, synthesizer tones, and overall gloss. Next to the definition of what mid 80s music sounds like, sits a picture of this album. 'Pleasure in Progress' borrows its primary melody heavily from Alan Parsons' 'Eye in the Sky'. Some of the electronic music isn't really all that far away from what Tangerine Dream were doing back then. Mark Isham provides his trademark atmospheric trumpet to the proceedings. Maynard Ferguson, he is not. Music like this really hasn't aged well, and one wonders if there will ever be a renaissance for it? I'm sure there will be. Primitive electronics is very popular now, and this is the opposite of that. From a technology perspective they were embracing the latest available to them. It all sounds so quaint today. Not really for me, but much better than I remembered. (1/16)