Franco Battiato - Sulle Corde di Aries. 1973 Italy

Battiato's third effort is an otherworldly mix of primitive electronic, folk, and world music. There's really no other album quite like it, which makes it that much more interesting. I didn't have a good grasp of this album, and it's been 28 years since I last heard it. But even after this revisit, I would have a hard time articulating the music. It's almost like systems music, yet it's very warm sounding which is contradicting. From an era when exploration of sound had no boundaries.

Ownership: CD: 1992 Artis. Jewel case release. Booklet has liner notes in Italian and photos. Mastered straight from vinyl and obvious too. Mail order acquisition (1996).

I had a chance to grab the original LP in Baltimore with that large buy in 2021. It wasn't cheap and I'd already spent a fortune. And I wasn't sure this was an album I wanted to keep, but that was due to my unfamiliarity with it. Given that the CD sounds like vinyl, I should have forked over for it. Oh well, not the end of the world, but I'll be looking for it now.

1996; 12/28/23 (new entry)

Museo Rosenbach - Zarathustra. 1973 Italy

This is one of those albums where I state to myself: "Didn't I write about this album already?" Nope. Uh, wait (takes a look at Gnosis). Oh cool - I did. Yaay. I forgot about that incident, but I was evaluating on whether or not to sell my LP extra copy on Contempo. Anyway, on to that review from 22 years ago:

"Melancholy, thy name is mellotron. And so it is with that, Zarathustra opens in this manner. A dire voice leads to a crashing guitar riff, and Museo Rosenbach has begun the journey to one of the finest albums ever made. Created in the fertile turf of 1973 Italy, Museo Rosenbach were either inspired by or were the inspiration for countless other bands, each vying for the public’s attention. The most creative musical scene in the annals of rock music to ever surface had a new champion. Heavy riffing guitar, bass, drums and various percussion are the instruments of choice. However, the standouts have to be Pit Corradi’s amazing mellotron and Hammond organ work coupled with the brilliant vocals of Stefano Galifi. There are no weak moments to be found, each composition winds its way through the corridors of the listener’s assumed over-active imagination. Whether it’s the side long title track or one of the 3 shorter songs found on Side 2 (especially 'Della Natura'), rest assured the attentive listener will be rewarded lavishly with each spin – a new twist or turn will become apparent. This discovery can go on for years. Certainly one of the all timers, a strong contender for greatest album ever. The perfect musical companion."

---

No change in my opinion, and it appears this is the first time I've heard the album in full since then. That's crazy. I can't keep doing this with my favorites. If I wait another 22 years, I'll be 81. Will I even be able to hear then? So far so good, but who knows. In any case, while it's a strong contender for greatest album ever, and I do have a Gnosis 14 on it, it's not #1 for me. The competition from early 70s Italy is so ridiculously great, it's hard for an album like Zarathustra to make the Top 10 in that genre alone. It does for me, but I could make the argument that it's in tenth place. Wow. And yea, that mellotron is so mystical you just want to live in it. My favorite moment of the entire album is when Galifi belts out "SUPER UOMO!" and the band goes nuts afterward. Brilliant. 

Ownership: LP: 1973 Dischi Ricordi. Gatefold textured cover. It's just mind blowing how expensive this album has become. It was hardly pressed in great numbers, but it was imported to the US by Peters unlike the really rare ones like Capitolo 6 and E.A. Poe. But demand is exceedingly high, so Economics 101 has it going for 15 times what it did 20+ years ago. I got mine in the "early days of ebay" (1999) for... $75. I remember showing a guy at work how ebay operates. This was before sniping and other tools existed. So you had to be present to get in your last second bid. I miss those days. It was exhilarating.

LP: 1982 Seven Seas (Japan). Gatefold with obi. Acquired from a friend in Japan (1999). This too is now worth good money.

CD: 2003 BMG (Japan). Papersleeve edition. Love that they perfectly replicated the textured cover. Not the best sound - but neither is the LP.

The first copy I owned was the single Japanese pressing (1989). As noted above, I also owned the gatefold Contempo pressing. And believe it or not, I also had two earlier CD presses. A bit obsessive I suppose. But what shows above has been static for 20 years. I guess 2003 would have been the last listen actually, the year before I started journaling everything.

1989; 4/25/01 (Gnosis); 2003; 11/26/23 (new entry)

Rustichelli & Bordini - Opera Prima. 1973 Italy

Over 18 years ago I wrote the following:

If I were to do a movie, I would use parts of ‘Nativita’ as my opening. One of the most perfect realizations of instrumental keyboard driven progressive rock ever made. Paolo Rustichelli is a virtuoso on the ivories and plays an arsenal of analog equipment (Hammond C3, Arp VCS 3, mellotron, piano), so a dream for fans of the style. His vocals range from dramatic to raspy and are an acquired taste. Carlo Bordini is up to the task on the drum kit as well.

---

Last night's listen confirms the above observations. Opera Prima is mostly instrumental and the bookend tracks are the best, along with A2. I appreciate the vocal sounds though there are couple of sections that feature them rather than augment the music, and that's the only thing holding this album back from the next level. All the same, an essential record for any Italian prog collection.

Ownership: LP: 1987 RCA (Japan). Gatefold with obi and insert. Acquired as part of a large buy many years ago (1997).

1994; 1997; 2//05; 7/31/23 (new entry)

Puzzle. 1973 USA-Illinois

This was a pleasant surprise. I was expecting soul music. Part of that is obvious because of the label, but also I had investigated this band in the past and didn't read anything of interest. Turns out to be a solid horn rocker with at least four killer tracks out of nine. I even like some of the poppier stuff, very much in the Chicago realm. A couple of stinkers, but that's OK and to be expected within the genre. Best tracks are the opener and closer of Side 1 and 'Suite Delirium' on Side 2. Solid album all around. Apparently the group is from Chicago as well, home of brass rock.

Ownership: LP: 1973 Motown. Single sleeve with lyric inner bag. This was a free throw-in to that big pile I recently purchased. There are 5 known pressings of this album. The others have a darker cover while this one is silver.

7/13/23 (new entry)

Alquin - Mountain Queen. 1973 Netherlands

Everything I just stated in the Alquin Marks review, could be stated here, so I won't repeat it. For differences I find Mountain Queen to be less Canterbury influenced; More heavy rock - especially the organ; More vocals (still not enough to be concerned about). In fact, Mountain Queen is even closer to a Gnosis 12, and falls a nose short. All the same, I find myself really enjoying these two titles. Essential for prog rock fans.

Ownership: LP: 1973 Polydor. Gatefold. In this case I obtained the Dutch original. Not quite sure what's up with that back cover. From the same buy in Tucson (1994). 

CD: 1990 Polydor. Combined with Marks (minus one track from that album).

7/3/94; 2013; 2/3/23; 4/11/23 (new entry)

Return to Forever - Hymn of the Seventh Galaxy. 1973 USA

Seems I've been on a Return to Forever kick lately, but it's just a coincidence of the random draw. I was a late comer to Hymn of the Seventh Galaxy, not having owned it for close to a decade later than the Al Di Meola albums. No great reason really other than I had tired of fusion as I left college and was looking for more underground European progressive rock. In the late 80s I had a colleague who told me he preferred Bill Connors to Di Meola pointing to a rawer approach. When I did finally secure a copy, it did seem a bit better to my ears, but I still wasn't overly enamored with fusion at that point, and let the album sit in the collection neglected for a long time. Only in the last few years have I pulled it out for relistens. If I were to rate all the RTF albums, the only one that is first division for me (Gnosis 12 +) is Where Have I Known You Before. And I attribute that to better songwriting as all their albums demonstrate impressive instrumental dexterity. But Hymn of the Seventh Galaxy and Romantic Warrior put up a good fight for certain. I would suggest this album as foundational to any heavy fusion collection.

Ownership: LP: 1973 Polydor. Single sleeve. Acquired from Half Price Books in Dallas (1993). An anomaly of my collection, by 1993 I was only buying CDs for commodities (and replacing LPs such as this) and was focusing my LP dollar on rarities and items not yet on CD. But I found a beautiful copy for cheap so I thought why not? Probably should have done more of that back then, but it was a different time and I had other priorities.

1993; 2011; 3/29/23 (new entry)

Chick Corea and Return to Forever - Light as a Feather. 1973 USA

I bought my first Return to Forever album while still in high school in the early 80s (Romantic Warrior - still have that copy), because of Al Di Meola's involvement + it looked like a cool prog album. In college I filled out the heavy fusion back catalog from the band. But I never did bother with the first two Chick Corea named albums, figuring without the guitar, they wouldn't be of much interest to me. And my instincts proved correct - for that period of my life. In hearing the album for the first time, it's hard to tell if this is an American group, or one from Brazil. This has all to do with Flora Purim's vocals and the bossa nova-ish rhythms. Corea jams on his electric piano and Stanley Clarke is doing his thing on the bass. I've been on a big Brazilian kick for a few years now, and Light as a Feather scratches that itch one more time. Big changes were coming for Return to Forever, but I very much enjoyed this lighter side of the group. Keeping this one.

Ownership: LP: 1974 Polydor. Single sleeve. Thrift shop find (2021). Looking at the label, it appears to be a pressing from 1974, one year after its initial run. 

7/6/21 (LP 2.35); 3/23/23 (new entry)

Jade Warrior - Eclipse & Fifth Element. 1973 England (archival)

Not long after these came out (separately) in 1998, I had a chance to hear them. I was a bit more critical towards them at the time and didn't purchase either. Some years later, I managed to get out the following review (altered for relevancy):

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Jade Warrior were pioneers of the world fusion genre, though in reality, their early albums didn’t really seize the moment as they should have. Like most bands from the early 70s, Jade Warrior were finding their way in the music world, and they seemed to possess three distinct styles. One was the fun times rock and roll band. Who can forget “JO-ANNNN, goin' to have a PARTY, JO-ANNN…”? Another was the soft ballad, with flute, acoustic guitar and wispy, but non-distinctive vocals. And finally, the sound that Jade Warrior not only excelled at, but eventually focused on, a hybrid rock world music fusion informed by many distinctive cultures. Fans of the band, I’m sure, must have wondered for years if there were any transition albums from their Vertigo years of Last Autumn's Dream and prior to the Island Records sound of Floating World and beyond, as their directional change was quite dramatic. So when indeed it came to pass that there was not only one, but two fully baked albums in the can awaiting an initial release, I’m sure Jade Warrior fans worldwide were in a complete lather. Most certainly these albums would point to the new direction, while maintaining some of the old sound? As it turns out, Eclipse and Fifth Element were more like extensions of their Vertigo years, with all 3 styles as mentioned above still intact. While Eclipse is as good as, if not better, than Last Autumn’s Dream, Fifth Element proved the band had completely run out of ideas using this methodology and would need a fresh approach. Correctly assessing the situation, Jade Warrior did just that. Both albums are of high quality, and have to be considered hugely important for fans of the group. It is rare that a band will be sitting on so much production quality recorded material without a release. If you love the first 3 Jade Warrior’s, these two are a must listen, even if they’re not the best of the lot.

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On this revisit I experienced a +1 on each release, with Eclipse still maintaining the lead. My overall viewpoint of Jade Warrior has softened over the years, as they were truly unique in their era. You can tell Fifth Element is the most diverse of their albums - a final Hail Mary to see if their existing record company Vertigo would keep them around. But the label wanted nothing more to do with Jade Warrior, telling them to lawyer up if they wanted their existing contract to be honored. After this disappointment, the band shed down to a duo format, and embarked on the Island label years, a very fruitful period that I've documented a little bit in this blog as well.

Ownership: CD: 2023 Esoteric. Fine digi-pak release with a full history to accompany. Properly released as a 2xCD set, just as it should have been to begin with.

2/21/11 (RYM); 3/18/23 (new entry)

Peter Banks - Two Sides Of. 1973 England

One of those albums that I pull out every 10 to 15 years and ask myself “Do I really need this?” And each time it sounds better to my ears. I’ve always appreciated Banks’ guitar work, a decidedly grittier edge than what Howe brought to Yes. Over the years, Flash has really risen in my book, all their albums going +1 to +3. And now this is gaining a +1 as well.

Ownership: LP: 1973 Capitol. Gatefold. Online acquisition (2024).

This is an upgrade to one I picked up in 2022. My first copy was purchased at a Denver record store (1994). 

1994 (first listen); 2008; 3/17/23 (review/new entry)

Zao - Z=7L. 1973 France

---Mar 2006 

Zao's first and, arguably, best album. The first and last tracks are the most challenging, especially when considering the operatic scat vocals, which can be a soprano shriek or a frightening guttural growl. They're a bit more abrasive and experimental on these bookend tracks than what is found on the rest of the album. Joel Dugrenot shows off his bass chops worthiness here and gives Top / Paganotti / Moze a run for their money. My-Troung is outstanding behind the kit trying to keep up. Cahen and Seffer can carry any melodic line, and it's just this characteristic that makes the album special.

---2/14/23

Last night I heard this for the first time in 17 years and Z=7L continues to impress. Also it occurred to me while listening that this album sounds like Embryo (especially with Maria Archer) trying their hand at Zeuhl.

 It's been said that the title Z=7L is a play on the word Zeuhl.

Ownership: LP: 1973 Vertigo. Gatefold. Acquired in 2020.

My first copy was the single sleeve Cryonic reissue purchased back in 1987, which was replaced by the CD above.

1987 (first listen); 1995; 3//06 (review); 2/14/23 (update/new entry)

Gentle Giant - In a Glass House. 1973 England

Coming into this listen, I had all the Gentle Giant albums up to Free Hand rated as a Gnosis 11. Except this one which was at a 10. Why? Probably because it's the one I haven't heard in the longest time and had already made the proper adjustment. Analytics can be irrational like that sometimes. Anyway, this listen bumped it up by the obligatory +1. Gentle Giant has never transcended the threshold to greatness for me. They are a completely left brained listen, while my right brain takes a nap. I've never emotionally connected with this band, and that's what makes my favorite albums special. Maybe one day they will - but time is getting shorter. But all the LPs are here and accounted for, in case that ever happens. Interesting to note this is my first feature of a Gentle Giant album on any forum. Probably because I can't come up with anything to say. Still can't.

Ownership: LP: 1973 WWA. Single sleeve. Discogs says of the cover: "Album comes in a gimmix cover with the center part of the jacket front side being transparent foil with black print on it; there is a printed cardboard insert that provides the remainder of the cover image." Was never released in the US during the LP era, thus making it by far the hardest GG album to score back in the day.

1990; 1/5/23 (new entry)

ZZ Top - Tres Hombres. 1973 USA-Texas

This is the 3rd copy I've run into since 2019. I flipped the other 2 quickly, but this time I wanted to see if my opinion had softened towards this album. And the answer is yes. The music here is exactly what most folks associate pre-80s ZZ Top with. It's crisp and punchy blues rock with excellent guitar solos. Have Mercy. Not real keen on A5 (many folks aren't) or B1 but mostly this delivers the hard rock goods. This album has a lot of familiar tunes to those who listened to FM radio growing up. It's greasy South Texas good fun - just as the inner gatefold of the Mexican dinner setup suggests. Incidentally, Mexican food was not yet a staple of the American diet in 1973. ZZ Top were trailblazers on that front too.

Ownership: LP: 1973 London. Gatefold. Another fine pickup at the Denver Record show for a fraction of going rates. Discogs shows this version as from 1977 without any data to support it's a reissue. I think they just copied the wrong entry when creating it.

1/4/20; 10/24/22 (new entry)

Herbie Hancock - Sextant. 1973 USA

Herbie Hancock's 3rd Mwandishi album is a bold statement of just how far he was willing to experiment. Even Miles Davis stayed closer to the groove. Sextant, especially on 'Hornets', takes what these guys were doing to the next level. And I do love the mellotron in this setting. Just as I would say for Can's Tago Mago, there's a limit of admiration juxtaposed against enjoyment. This is not an easy listen, nor was it meant to be. In today's world, these traits are rewarded with higher than normal ratings, and a chorus of expletives talking about how awesome it is. I too find myself rooting for music such as this, but I still want some songwriting and melody blended in. All that to say it's mandatory listening for the progressive minded listener. Keeper, yes. Best of the best? Not in my book.

Ownership: LP: 1973 Columbia. Single sleeve with the iconic cover. Half price of going rates from a local antique mall (2022) Very nice copy too. 

2015; 8/17/22 (new entry); 7/3/23

Eddie Henderson - Realization. 1973 USA

Depending on what you read, Realization is either an unnecessary straight copy of same era Miles Davis and Herbie Hancock - or it's a well executed rendition of a favorite style. I fall to the latter school, just as I would with prog rock - or with anything else in life. Great ideas don't have to begin and end with one set of people or company, and there's plenty of room for other interpretations. Realization is, in effect, Hancock's band (including himself), with Henderson in full-on Miles mode. And they're going for the deep groove for all of side 1. Whereas side 2 goes into the deep space galaxy as the cover suggests. Easy recommendation for fans of the aforementioned artists.

Ownership: LP: 1973 Capricorn. Single sleeve. White label promo. Found this copy last year (2021) at a local store at a steal of a price ($4).

6/1/21 (LP 2.24); 7/28/22 (new entry)

Renaissance - Ashes are Burning. 1973 England

Some of you might recall that last August I found a pile of near mint Renaissance albums on vinyl. Looks like I reported on 3 of those, but left off just as many including Ashes are Burning. I discuss my history with the band in at least one of those posts, so I'll skip that here. Ashes are Burning is the second album to feature soprano Annie Halsam, and the band's overall trademark sound is more established. I miss the quirkiness of its predecessor Prologue, but I'm warming more and more to Ashes are Burning. The lengthy bookend tracks are the clear highlights for me, bringing a Yes-like progressive rock structure - highlighted by John Camp's Rickenbacker bass work, similar to Chris Squire's. The 4 middle tracks are more geared towards folk and commercial rock, but not really, as they do maintain a progressive rock slant as well. Most of the Renaissance albums continue to grow in stature within the collection.

Ownership: CD: 1995 Repertoire (Germany). Decided to stick with the existing collection CD of this title whereas most of that thrift shop LP find replaced what I had on CD prior. Features copious historical liner notes from noted music journalist Chris Welch which takes it over the top - plus I like the sound of this CD. 

Historically I've owned the single sleeve version on Capitol at least twice. It's very easy to find here in the States, with most record stores charging less than $5 for clean copies.

1/15/94; 2/12/16; 9/26/21; 7/16/22 (new entry)

Kalevala + Nimbus: Pop Liisa 07 / 08. 1973-74 Finland (archival)

These Pop Liisa concerts were quite the revelation when Svart uncovered them about 6 years ago. I reported on most of the early ones already, but never did get around to penning notes on this release, which probably is the best one in terms of consistency.

Kalevala's People No Names album is one of my all time favorite early 70s Scandinavian albums. It's a high energy piece unmatched by the competition. The Pop Liisa concert comes one year later from that landmark album. Vocalist Harri Saksala has moved back to his native Finnish language and they've since added a woodwinds player. The music is similar, a bit more toned down, but nearly as satisfying, especially when Sakari Kukko pulls out the flute. According to the liner notes 'Verkossa' is the only track from People No Names, known as 'In the Net' on that album. However the primary theme of 'Myrskyä Pakoon' is definitely on People No Names as well, but I'll need to play it again to identify which track. An excellent archival find.

Even better is Nimbus' concert. Contrary to Kalevala, this predates their sole album. There are two tracks that are similar here, but again this is mostly unique material. Over the years, I've really come to appreciate Nimbus' progressive rock styling (and you can read my notes here on UMR), and this concert is on par with that great album. I seem to be alone in my praise, not an uncommon place to find myself, but this is an extraordinary effort.

Ownership: CD: 2016 Svart. Purchased new not long after release. Superb archival issue with full historical liner notes and great sound (all things considered). You can buy these as 2 separate release on vinyl, if so desired. 

7/21/17; 6/19/22 (new entry)

Sahara - Sahara Sunrise. 1973 Germany

Sahara Sunrise is the debut album from Sahara, but is really the second album from the renamed Subject Esq. The album opens up brilliantly on 'Marie Celeste' with the most powerful fuzz bass entrance one can imagine. Then it settles into a fine melodic progressive rock groove. 'Rainbow Rider' follows a similar pattern and contains some beautiful melodic passages. 'Circles' starts off incongruously as a country track, but finishes nicely with what we used to call "rural psych ". The 27 minute 'Sunrise' is extraordinary and packs many ideas into that long time frame. This is a complex work that requires close study. Sahara Sunrise is an album that has aged beautifully for me. Much - much - better than I recalled.

Ownership: LP: 1973 PAN/Ariola. Stunning colorful gatefold with lyrics and photos/paintings in the centerpiece. I purchased this online in 2000, and it's the first time for me to hear this copy (!). Initially I found the Peters International US version at a Dallas record show in the 80s, but it was pretty beat, and I didn't enjoy the contents because of it, and sold it off way back then. Later I bought the Ohrwaschl CD in 1994, and I wouldn't be surprised if that was the last time I heard this album, some 28 years later! 

There are a lot of nuances with the release of this title, and I believe Discogs has the date wrong. There is no copyright date on the original, just the album notes saying it was recorded in autumn of 1973. However, the US press is clear in that it was copyrighted in 1973. The odd thing is that the Peters release was from 1974, so it seems to have flowed that the original was too. But Peters (most known as a major distributor of imports to the US) came after the fact, similar to Billingsgate. Another quirk is that the original is titled Sahara Sunrise, whereas it's denoted only as Sunrise on the Peters copy. There's also a UK version on Dawn - released in 1975 - that is also titled Sahara Sunrise. Just to add to the fun, my copy is a later pressing with the XOT (instead of IT) catalog extension (was also not on Discogs, but we just added it). What a mess. The photos you see are this copy.

1/11/22 (new entry)

Saint Just. 1973 Italy

Saint Just's debut is an unusual album coming from Italy. Folk rock is its root system, but played with more urgency and with a haunting quality. In this way it's like the best of the UK bands operating in this space. There's not a lot like this from Italy though, maybe the first Opus Avantra or early Pierrot Lunaire, though not as experimental as that might imply.  Be prepared for Jenny Sorrenti's voice, which is high pitched, and just short of being annoying. But it is sung in her native Italian, which is a huge plus. Worth noting that Jenny (known as simply "Jane" here) is the sister of the more famous Alan Sorrenti.

Ownership: LP: 1973 Harvest; CD: 1994 EMI/Mellow. The LP is a wonderful thick heavy textured gatefold. Purchased online about a year ago at a bargain of a price (though not cheap by any means). The seller stated the vinyl was VG and detailed a couple of flaws. Read more like a VG+ to me, and with my cleaning regimen (which has become quite good), I figured I could raise the grade. Afraid not, it was perfectly graded (as was the cover which is VG+ to EX). Had this album been more of a rocker, then it would have been a pleasant listen. But because it does have a folk component, there's background noise to compete with in the quiet spots. Not overly distracting but just enough to make me want to hold onto the CD, which offers nothing else. But I'll take that pure sound. The CD was my introduction to this fine album and purchased new upon release. The back cover is this copy as we added it to Discogs.

new entry

Jean Cohen-Solal - Captain Tarthopom. 1973 France

It would appear that Jean Cohen-Solal was conscious of the seriousness of the debut, and tried to lighten the mood with the somewhat silly opening title track on his second album Captain Tarthopom. This is followed by the sublime 'Ludions', meshing his trademark flute work with the sound of Soft Machine's Third, and is the highlight of both albums. Next track 'Ab hoc et ab hac' indicates more of the same with some massive fuzz bass, but then ventures back into more experimental territory, where it never leaves again. While the tracks on Captain Tarthopom are relatively compact compared to the debut, the level of experimentation remains high. I find this album a +1 from the debut, and both come recommended.

Ownership: CD: 2003 Mio (Israel). Purchased new upon release. Also includes Flutes Libres in full. Fine reissue with an 8 panel booklet including one dedicated page to liner notes. The sound is very good (though I hear distant vinyl noise, so I'm guessing the masters were lost), and a relevant 2003 era bonus track, which is an interpretation of the side longer from Flutes Libres. The second and third photos are this copy as we added them to Discogs. 

8/20/15 (new entry); 1/2/22