First Light ~ Australia

First Light (1978)

---7/19/10

First Light were a band from Australia with direct ties to the excellent progressive rock / AOR hybrid band known as Aleph. First Light is a bit different though, and they play a mighty fine (mostly) instrumental jazz rock. Sunny in its approach, with some excellent guitar leads, at times reaching a Santana like intensity. Some nice ensemble unison runs with sax, flute, electric piano, and the female voice on 'Earth Wave' gives it a Northettes feel, that adds points. 'Tropical Inequation' is brilliant, a 5 star instrumental. Back cover says: "Mellotron and special effects kindly supplied by Aleph",though I can honestly say I couldn't spot the mellotron. High quality Australian fusion that deserves to be filed next to Crossfire, Snakes Alive, and Mackenzie Theory.

---3/27/26

That was my review for the CDRWL. I also snuck in another listen to my cd-r and added it here to UMR (likely updated the review as well). Now I've finally secured the LP, much to my glee, and will forward the contents to the current date.

Do I have anything to add to the original review? Not really. I called out two tracks above, and they both open the second side. I would suggest, then, that this side is the better of the two. Though not by a whole lot. The music is highly melodic, and isn't showoff-y in the slightest. Sits comfortably between jazz fusion and progressive rock, though I would categorize it as the former.

Ownership: 1978 M.F.S. / Music Farm Studios (LP). Gatefold. Acquired in 2026.

7/19/10 (review); 9/28/18; 3/27/26 (update)

No legit reissues as of 3/27/26.

9/28/18 (new entry)

Aragorn - The Suite. 1974 Australia (archival)

As promised, here is the "debut" album by the collective of Australian musicians who were also responsible for Snakes Alive and Stepps. The Suite is not what I expected - at all. I presumed it would be a symphonic progressive work, similar to other Australasian bands of the era such as Sebastian Hardie, Dragon, Ragnarok, Aleph, Think, and the rest of them. Nope.

The liner notes indicate that ELP and Jethro Tull were an influence. And that's probably so, especially the former given the classical piano work. But what we have here is something extraordinary, a sound that has absolutely no precedent in this part of the world. That of Italy. Che? That's the big surprise here. The stop-start-fluttering-flute-hard-guitar madness of Osanna, De De Lind, and Capitolo 6. Of course it's sung in English, but the music has the same excitement of exploration as the Italians. My cynical nature comes to the fore, as in: How could something like this ever get recorded in Australia in 1973/74? As we often say about music that comes from Eastern Europe - musicians arriving at similar conclusions via different paths. How did the The Raindear Army (from Springfield, Illinois of all places) come up with Italian prog ideas - in 1967? Music is emotional sound math at its core, so formulas run into each other eventually. We see this all the time in analytics. The Suite is an energetic work, and that continues on with Snakes Alive. There are 16 tracks here, but they segue into each other as to create one suite, hence the title I suspect.

While Snakes Alive and Stepps have garnered some audience over the years, this archival release remains completely under the radar. It's only been a year since release, but it's absent from ProgArchives, has one entry in Gnosis, 18 owners on Discogs, and 20 ratings on RYM with one review. An album like this would have garnered much more attention 20 years ago. I'm going to add to those totals now (other than PA). Don't miss it.

Ownership: CD: 2022 Merry-Go-Round (Korea). Jewel case release with liner notes in English (and Korean).

12/12/23 (new entry)

Stepps - Waltz for Tiger Joe. 1976 Australia

Where to begin with Stepps? How about with my Snakes Alive entry: "Snakes Alive were a group that I discovered in my early CDRWL research days. There was much question of its authenticity at the time, especially given the obvious photoshop cover. But it was real, a demo pressing from a circle of Australian musicians who had access to a recording studio and took advantage of it."

At the time of that writing I wasn't aware that Stepps were related to Snakes Alive. In those same "early research days", I was also introduced to Stepps. In fact I think it was a couple of years beforehand. I had no context for what I was hearing - and when I started doing research, there was no data to be found. You have to remember that the internet was rife with disinformation about obscure progressive rock bands in those days. Remember Art Jackson's Atrocity? I remember one blog had dozens of unknowns, only to find out (quickly thank goodness) that the person behind it was recording obscure CDs and renaming the groups and titles, and adding unique artwork. Why? For laughs one presumes. Or he was a sociopath, who knows. And this doesn't even count the more obvious pranks from the 90s like the phony baloney Psi-Fi series of "obscure Krautrock records released only in museums" - that people believe to this day! As noted about a lot of these situations, the music tends to hold up well even if the backstory falls apart. It's in this kind of environment I hear Waltz for Tiger Joe. Is it even real? When I have doubts like that, I begin to sour on the music.

Today, the truth has come to light. Sure enough it was real, and the story is plausible. This circle of Australian musicians basically recorded three different albums under three different band monikers. Two were released as demos. Snakes Alive and Stepps achieved test pressings, and only Stepps had original artwork. Australia in the early 70s was considerably more isolated than today, so it's understandable how music like this remained unknown. Of course, one could say the same about many a group here in the States in a less isolated situation. So how did this group of musicians record anything? One of the movers and shakers of the bunch was a recording engineer at EMI Australia. So like Tom Nehls, access time in a recording studio gives one an opportunity to experiment.

Stepps were the final incarnation of the "group". The first was Aragorn, who did not release anything real time, and I'll be covering their album soon enough. At this stage, the band had moved over to a Canterbury like sound. The liner notes accurately describe the music as not only similar to Hatfield and the North, but really more like Belgium's Cos. And he rightfully uses a great word to describe their very feminine singer: Coquettish. In the couple of photos of her, you see a very beautiful young lady with long straight hair that goes down to her waist. Essentially a dream girl of the early 70s. Worth mentioning all of this because the album gives off this naive and harmless playfulness as they flirt with you, the listener. So yes, this album is all about the Canterbury scene.

The CD adds one bonus track from the same recording session, plus four tracks from an earlier instrumental incarnation of Stepps before Bernie Morgan joined them. Honestly it sounds like a later version of the band as the jazz rock is lighter and watered down, much more typical of something you might hear in the late 70s. But the data says different.

Essential for Canterbury fans.

Ownership: CD: 2022 Merry-Go-Round (Korea). Jewel case release with two sets of liners notes in English. Includes five bonus tracks in aggregate. Superb all around.

2010; 12/10/23 (new entry)

Brainstorm ~ Australia

Desert World (2005)

Brainstorm's second album came out at the height of the CD boom. It would only be two years later that downloading full albums became an easy task, and the demise of CDs had begun. Vinyl then saw its resurgence at the end of the decade, and CDs were being pushed to the side, frequently scoffed at by audiophiles and collectors alike. The final death knell was the advent of streaming. At that same time I was attempting to field all the CD promos we'd receive at Gnosis. I had some help, but none of us could keep up with the volume. And my job situation in 2006 was pure chaos. I could barely keep above water with work, family, music, friends, etc... blaaahhh! 

This prelude sets up what will ultimately become the next cave diving expedition for collectors: What happened to all those CDs released by MySpace, CD Baby, privates (like this), and others from the early to mid 2000s? I find CDs all the time at thrift shops that aren't in Discogs. Most look to be of the country, indie, and alt rock genres, which I don't enjoy, so I leave them back. But sometimes I find real unknown gems, usually from the metal or neo psych camps. Back to Brainstorm. Here's a space rock band from Australia trying to get noticed on the larger world stage, but ultimately got lost in the shuffle that was 2005 / 06. Had they come around only a decade earlier, they would be far more known today among progressive rock aficionados. The 90s saw plenty of bands like Brainstorm receive magazine press, decent CD sales, and much chatter on fan boards. What did Brainstorm get for their efforts? Aural Innovations wrote a positive review; Gnosis has two ratings (including me); RYM has three ratings (including me); and Discogs shows an ownership of five (including me). ProgArchives has two ratings (not including me haha). I feel confident in saying that the album wasn't made for me personally, so what the heck happened? It's not like the band broke up here (they may still be going). Seven years later they managed an even more obscure release (how is that even possible?). Of course, some of it is their own damn fault. Naming your band Brainstorm, a moniker used by about 50 other groups, didn't help. If you search on RYM, you have to go three pages deep to find them (and hopefully you know they're Australian).

OK, a lot of words about the provenance, but what of the music? Well I guess that's the sad part here - because had this been released in 1995 instead of 2005, it would be more highly regarded. They take the Hawkwind blueprint (who doesn't in the space rock world?) and add a level of complexity not usually associated with the genre. It works well as both progressive rock and space rock - more Nektar than Hawkwind actually. The vocals are flat and monotone (typical of the genre), but otherwise the musicianship is excellent here. And the tracks unravel in a very interesting way. Early era Mandragora might be a good comparison here. After all these years, I finally had the chance to absorb this album. +1 listen.

Well - I didn't do my part in helping either, so I have to say sorry for that. But I'm here to say that this album will age well, and collectors will eventually find it. Maybe.

The band appears to still be kicking around. Bandcamp shows a release as late as 2020. My goodness. Obscurest until the end apparently. Maybe this post will shine some positive light on them. 

Ownership: 2005 private (CD). With lyric and picture booklet. Acquired in 2006.

2006; 11/4/23 (review / new entry)

INXS - The Swing. 1984 Australia

By the time INXS really made a name for themselves in the late 80s, I was so far detached from contemporary music I barely knew who they were. The Swing is one of their earlier albums, and comes at a time when I might have heard some of this, but wouldn't recollect it - or care about it. Now is the right time for me to digest albums such as this. I enjoy INXS at this stage of their career for the same reason I like Duran Duran. It's fast paced, crisp, a touch of funk, and catchy. Best of all is that INXS brings 2 guitarists to the party so there's more than a nod to hard rock here - buried under the glossy production mind you. Not all of The Swing is convincing, and it can get way too close to ordinary pop at times. But I heard enough to give it some space for the short term anyway.

Ownership: LP: 1984 ATCO. Gatefold with printed inner bag. Not a lot of gatefolds in the 80s, so that's something different. And yes, yet another great deal at the Denver Record show, though this title surprisingly doesn't go for that much compared to other 80s albums of its ilk.

10/24/22 (new entry)

Ayers Rock - Beyond. 1976 Australia

Ayers Rock's second album has that unique Australian progressive rock sound that mixes intense jazz fusion with AOR instincts. Windchase and Pantha are two great examples of this sound. On par with their debut, though maybe a slight downward turn. I can see why A&M signed these guys up in America, they certainly had the right 1976 sound for radio. As did Sebastian Hardie, but for whatever reason, neither caught on here. It was the boogie rock of AC/DC instead that hit home in the States.

Ownership: LP: 1976 Mushroom. Single sleeve with colorful company advert inner. Nice artwork. This was a gift from a very good friend of the UMR.

6/8/22 (new entry)

Sebastian Hardie / Windchase / Mario Millo ~ Australia

Windchase - Symphinity (1977)

Symphinity is an album of great inspiration. And it never fails to do that for me, after nearly 30 years of familiarity. As with any of our favorites, there's usually a time and place aspect where the music had a profound impact that lasts for a lifetime. In my case, it came via a listen in early 1993, in a particularly low moment. Symphinity brought me back to my usual enthusiastic state. As I tell people sometimes, my therapy sessions exist inside my album collection. No need for outside counsel.

Right from the beginning, it's clear that Mario Millo finds his own inspiration with a one Carlos Santana. Opener 'Horsemen to Symphinity' is one big goosebump moment. Just a gorgeous piece of music. And it never lets up from there. Windchase is more fusion oriented than the laid back symphonic of Sebastian Hardie, and it's that extra energy that propels the band to its greatest heights. Of course, Yes remains a major influence with Windchase. So if the idea of Santana's Lotus meeting Yes' Fragile sounds good to you, then Symphinity is an easy recommendation.

And while here, let's address the elephant in the room: 'Glad to Be Alive'. This has to be one of the most polarizing tracks in all of progdom. With just about anyone else, the song would have to be characterized as saccharine pandering to the masses. But Mario Millo is as authentic as they come, and he wears his emotions on his sleeve. And through his music. If we could put aside our cynicism for a moment, then the beauty and powerful message of the song comes through. Even if you can't bear the chorus, it's still mostly an instrumental track of great invention. For me, it's just one more example of why I find the album so inspirational. 

Ownership: 

1977 Infinity (LP) Gatefold. Acquired in 1993.

2011 Belle Antique (CD). Papersleeve. Contains one bonus track, a live version of 'Horsemen to Symphinity', recorded in 1998. It's an excellent rendition though it does contain a needless (and mercifully short) drum solo. Acquired in 2011.

2//93; 11/21/11; 3/5/12; 8/26/21 (review)

Sebastian Hardie - Windchase (1976)

Windchase is the middle album between Four Moments and Symphinity, and has always been my least favorite of the three. Which is not the same thing as saying it's not any good. It most certainly is great actually, but less dynamic than the bookends. No one could craft a sentimental melody like Mario Millo, and Windchase is the perfect album to wind down a hard day with a glass of wine and a moment of fond reflection. It's truly beautiful music within a progressive rock context. The band was - and remains - a hidden treasure.

Ownership: 1976 Polydor (LP). Acquired in 1991.

1991; 2/23/12; 7/21/19 (review); 8/1/23

Mario Millo - Epic III (1979)

Mario Millo's first true solo album, Epic III, is largely a continuation of where he'd left off with his previous endeavors, namely Sebastian Hardie and Windchase. Like with most solo albums of the 70s and 80s, Millo goes boldly forth with a selection of assorted styles and genres, to explore various aspects of his muse.

Depending on the format in which you first hear this album, you probably will come away with a different impression. In my estimation, listening to it in the order as presented on the original LP is preferable. The Musea CD however "front loads" what would appear to be the ear grabbing prog epic as it were, that of the title track. It's either that, or they were trying to mask the album's true opener 'Life in Our Hands'. For anyone who enjoyed Sebastian Hardie or Windchase, 'Life in Our Hands' is not an egregious opener, but rather one direction Millo has always pursued. As I wrote in my Four Moments notes, Millo is a true romantic at heart, so it comes as no surprise to hear an AOR styled number opening the album. But this is Millo after all, and so it's definitely "proggy AOR". Had this been heard by record executives in America in 1979 - and most assuredly it was not - then I could see it obtaining well earned radio play at the time. 'Mary's Theme' is yet another Millo avenue - that of jazz fusion. It's a fine instrumental, calling out his Camel influence, but I also hear Nova in this track (minus the sax). 'Quest Theme' is a different pursuit, more classically influenced with acoustic guitar and flute, but not folky at all, and is a style one might hear in late 70s Spain for example. 'Harlequin and Columbine', however, is best skipped over. Sounding like a Broadway play interlude, it's the kind of music one would hear in the dead-zone mid hour of a 70s variety show like the Carol Burnett Show. Cornball and a waste of time really. 'Castaway' gets things back on the rails, and is yet another departure for Millo. This is the only true solo track, yet Millo plays many instruments including drums. To my ears it sounds like what the French were doing in this era - a type of funky jazz electronic prog - something akin to Georges Grunblatt or Patrick Vian perhaps. 'Sogno d'Amore' brings back the lineup of 'Mary's Theme' and is similarly very good.

That gets us to the album's closer (or opener haha), the lengthy title track. To me, it's as if Millo consolidated all the ideas of the above tracks into a multi-part suite. This is why I feel it's more effective as a closer. That is to say it works best as a summary rather than as a table of contents.

The CD includes an additional track 'Rebecca' (sister of Rosanna per chance? See Four Moments...), and is yet another fine song in the Windchase tradition. Overall... an excellent album.

Ownership: 1979 Polydor (LP). Gatefold. Acquired in 2000.

2000; 11/9/18 (review)

Sebastian Hardie - Four Moments (1975)

Sebastian Hardie is one of those groups that draws polarizing opinions from those in the progressive rock community. Truth of the matter is that bandleader, guitarist, and primary composer Mario Millo is a true romantic at heart. Which instinctively rubs the male oriented and testosterone fueled prog rock fan base the wrong way. I am one of these myself, and have zero tolerance for phony baloney dainty antics, as performed by many an arena rocker looking for an easy score. And yet I adore Sebastian Hardie, especially Four Moments, which is as pure an emotional album as you will find. When people talk about lush symphonic progressive, they mean this album. For those who think 'And You and I' is the pinnacle achievement for Yes, then I assure you that Four Moments will be something you will swoon over. As if to prove they can also rock out, be sure to stick it out for the last four minutes or so, where they light the album on fire, for a truly sublime closing. Only the most hardened and grizzled out there won't find a soft spot for Four Moments.

Ownership: 

1975 Polydor (LP). Gatefold. Acquired in 1988.

2004 Polydor Japan (CD). Papersleeve gatefold. Acquired in 2004.

1988; 9//04; 3//05; 10/3/15 (review); 6/17/26

10/3/15 (new entry)

Aleph ~ Australia

Surface Tension (1977)

Though from Australia, Aleph in reality sound more like a band from Ohio, and would have been a perfect fit for my USA Midwest / Ontario Progressive Rock (1970's/early 80s) list. Commercial FM radio meets progressive rock, with long tracks, mellotron, extended ideas, etc... Comparisons to Sebastian Hardie are compulsory, but not really accurate. Whereas that fine band were more attuned to a certain European sophistication, Aleph are a brash unit, very much like an American group would be. Despite featuring two females (on keyboards primarily), and the vocals are in a decidedly higher range, the lead singer is definitely male - yet another Midwest-American-covering-Yes trait. While Side 1 has a slight commercial slant, the flip goes all out progressive. A very fine album for those who like that uniquely late 70's American prog sound.

Ownership: 1977 Atlantic (LP). Fold out lyric inner that also contains a band photo. Acquired in 2018.

This LP replaced the CD that I purchased from a Japanese dealer at Prog Day back in 1996. It was on the dubious Poor House label, and was their very first release. As such it was a fully pressed CD, not a cdr that they later succumbed too. All the same, it's clearly a bootleg and taken from vinyl. It's debatable if this album has ever been reissued properly. The M2U (Korea) release claims a license but questions have arisen to the contrary (Belle Alliance of Japan put their obi on this release as well). One wishes Aztec had covered this in their prime to remove all doubt. 

As of 4/16/26, the situation remains unchanged.

9//96; 6/13/16 (review / new entry); 9/25/18; 6/23/21 (update)

Rainbow Theatre ~ Australia

The Armada (1975)

I've spoken at length about Rainbow Theatre's sophomore effort Fantasy of Horses, but never did get around to putting any notes down for their debut The Armada. It's a similar style effort, a bit more unfocused and has less impact, but still a fascinating listen. In effect Rainbow Theatre is a combination of royal classical, progressive rock, and horn rock. Keith Hoban's vocals are operatic, and Julian Browning leads the group with his guitar, mellotron, and songwriting. There are two key lengthy tracks (each with four subsections) and three shorter ones sandwiched in between. The opener 'The Darkness Motive' is the winner here given its fast pace, heavy instrumentation, and constantly moving parts. It would be this track that provided the blueprint for Fantasy of Horses. As stated in the review for this second album, there really was (or is) no band like Rainbow Theatre, as unique a group as there ever has been. And it's not experimental, but rather they carved out their niche inside the confines of what is known and accepted.

Ownership: 1975 Clear Light of Jupiter (LP). Gatefold. Acquired in 1999.

1998; 1999; 2006; 9/10/20; 1/28/21 (review)

Fantasy of Horses (1976)

---10/2/06

There are few albums that we can truly point to as being wholly original, but Rainbow Theatre’s second album would have to qualify. Not to say it uses made up scales or instruments, but within the common boundaries of what is considered melodic music, Australia’s Rainbow Theatre have most certainly created their own room in the house. An operating 8 piece rock unit (keyboards, guitar, bass, drums, trumpet, sax, trombone and flute) accompanied by a string sextet, Fantasy of Horses makes full use of the large palette of instrumentation available, not to mention that Keith Hoban’s vocals are sung in operatic style. Overall it’s a spirited affair, not an academic high-brow run through, so rockers have much to sink their teeth into. In fact, the drumming is astounding, and propels the album to great heights of intensity. The four tracks presented here, including two lengthy multi-part affairs, chock full of mellotron and high invention, are a progressive rock lovers dream. At least for those who keep an open mind.

As well, an unusual bonus track has been added - a recent full-on classical work written by bandleader Julian Browning, that is the perfect conclusion to the rocked out album proper. I cannot think of too many albums where that would make sense, but naturally it would be apropos here.

---1/18/20 (update)

The original LP I own is a gift from Julian Browning himself after seeing my review of the CD (above). A personal treasure because of that. The cover says it's on Clear Light of Jupiter while the label says RTM (Rainbow Theatre Music?) with a different catalog number. 

Ownership: 

1976 Clear Light of Jupiter / RTM (LP). Acquired in 2006.

2006 Aztec (CD). Multi foldout digi-pak with a full history and artwork. Includes one bonus track (detailed above). Acquired in 2006.

1997; 10/2/06 (review)

1/18/20 (new entry)

Taramis - Queen of Thieves. 1987 Australia

I recently posted about Taramis' second album Stretch of the Imagination. That reminded me to seek out the debut. I had read that Queen of Thieves was more like Iron Maiden and far less complex than their sophomore effort. But I didn't find that to be the case. This is certainly in line with some of the other crazy progressive thrash bands hovering about in the late 80s. One never knows where the music will take you next. Yet another solid album from downunda. Pity they stopped when they did. 

Ownership: LP: 1988 Metal Blade (USA). Recent online acquisition. Sealed no less. And surprisingly not expensive. Single sleeve with quite the eye catching cover.

Taramis - Stretch of the Imagination. 1991 Australia

There was a time between the late 80s and early 90s where metal bands continued to extend the boundaries of the style, to the breaking point. Most of them having come from thrash and traditional heavy metal backgrounds. Sometimes the music was surreal in its complicated approach. It was almost as if the 70s prog rock bands at reemerged during the thrash era, and the end result was often mesmerizing. None of these groups were particularly successful on a commercial level, though the more known entities managed to sell quite a bit of copy. Mekong Delta, Realm, Anacrusis, Psychotic Waltz, and Thought Industry were just a handful of the most recognized names. For my tastes, this era of metal was the zenith of the style. The music must have been difficult to perform live, and lacking any kind of commercial enthusiasm, the style seemed to disappear overnight. By 1994, more contemporary and direct styles such as Nu-Metal and Groove Metal began to emerge, seemingly as a response to progressive thrash.

Australia's Taramis were yet another band who made a go at this most interesting metal genre. They started as a traditional heavy metal band, but by 1991 - the heyday of prog thrash - they released Stretch of the Imagination. As apropos a name as one could think of. And Taramis proved they were quite adept at it too. The vocalist is more in control than most (though hardly smooth), and the sound is crisp yet chaotic. Best of all is the bass playing, not an instrument that always gets highlighted in music such as this. All in all, another excellent example of progressive thrash, and well worth your time if music like this interests you at all.

Ownership: CD: 1991 Rising Sun (Germany). Purchased new online sometime in the late 90s.

Ayers Rock - Big Red Rock. 1974 Australia

I'd read about this album for years, but never heard it until now. A&M tried hard to break them here in the States as well as England, but it was a tough sell despite positive reviews of their live outings. The music on the album is eclectic, but still belongs to the progressive rock genre. Most of the album is a mix of symphonic fusion and trippy space rock - all very good. There are 3 tracks here that are typical of Australian music from the 70s, a type of boogie/pub rock. They're not too bad on the whole, with excellent instrumental breaks, but probably didn't help their cause with the prog rock fans of the era. The bonus tracks are of a similar mix. Overall an excellent album, one of the many unappreciated secret gems from Australia.

Ownership: CD: 2016 Aztec. Recent online acquisition. Typical fantastic Aztec reissue, housed in a beautiful die cut trifold digipak. Extensive historical liner notes, photos, and 5 relevant bonus tracks, including one 45.

Mackenzie Theory ~ Australia

Bon Voyage (1974)

Bon Voyage is the second and last album from Australia's Mackenzie Theory. Their main ingredients were electric viola and electric guitar, which gives off more than a whiff of classic Mahavishnu Orchestra, though more stripped down to its core. Given the live setting, Bon Voyage is definitely more "jammy" than Out of the Blue. Unfortunately 'The C Thing' is marred by a lengthy drum solo. Best track goes to the closer 'Supreme Love' that takes Coltrane's famous tune and turns it upside down into a fiery jam. Overall a very fine album especially for those who love the rougher edges of jazz fusion.

Ownership: 1974 Mushroom (LP). Acquired in 1995.

2//95 (first listen); 4/16/11 (review); 2/2/20 (update) 

Out of the Blue (1973)

I think the best way to describe Mackenzie Theory's debut is that of a laid back Mahavishnu Orchestra. Which sounds like an oxymoron, but when you hear Out of the Blue it will make sense. Electric guitar and electric viola are the main protagonists here, and both put in a splendid performance. Not only do they possess the necessary chops, but also achieve the most wonderful psychedelic tones. The music is clearly composed, and offers far more than the usual three note backdrop while throwing endless boring jams on top. The tight ensemble work is really where the Mahavishnu Orchestra comparison comes in, especially at the time of Inner Mounting Flame. Another element that Mackenzie Theory excels at is pacing - that is to say, their ability to slow a song down and suddenly propel it back to a blistering speed. It adds a level of unexpected excitement, and it's just these kind of surprises that make Out of the Blue a truly progressive jazz rock album. And don't miss the live version of  'New Song' as presented on the Aztec CD, as it will leave your speakers smoldering for a few hours afterward. This is a must own album for early instrumental fusion fans.

Ownership: 2009 Aztec (CD). Tri-fold digipak. With copious / insightful liner notes, photos, a much improved sound, and one smoking hot bonus live track. Acquired in 2009.

First acquired the Mushroom CD in 1994.

1994; 2009; 3/29/13; 8/5/14 (review)

8/5/14 (new entry)

Pirana ~ Australia

Pirana (1971)

Pirana were a band from Australia who released two fine albums, that are now rare collectors items, especially given the lack of a legal reissue (not even the great and now-defunct Aztec label showed any interest here).

Essentially Pirana are Australia's answer to 1969-71 era Santana. It's especially obvious from keyboard member Stan White, who plays the organ and sings quite similarly to a one Gregg Rolie. Tony Hamilton's guitar resembles Carlos Santana in style, but the tone is decidedly different, much rawer and more in line with a typical 1971 hard rock sound. There's quite a bit of tribal percussion here - perhaps too much honestly - but it does cement the relationship with Santana.

The songwriting is a mix of heavy Latin rock with pop sensibilities (sound familiar?). 'Elation' is a get-up-on-your-seat opener only to deflate a few minutes in to allow for a lengthy drum/percussion solo, and can only be considered a slight disappointment given the premise. Probably best to "program" most of it out. 'Sermonette' is great, and more representative of the album at large, with its strong songwriting and excellent guitar/organ combo. 'The Time is Now' actually predicts Malo, and is quite a revelation from an historical perspective. 'Find Yourself a New Girl' is the most commercially oriented track here, but features fine flute and a nice melody line. The album's only true misstep (not counting the overabundance of drums on track 1) is 'The River', a sort of country/rural rocker that is out of place, and not particularly well done. Both 'Easy Ride' and 'Stand Back' reminds us of the organ/guitar heavy sounds of 'Sermonette', and the latter track features some fine extended soloing. Overall a very good to excellent album. Giving a bump to the rating as music like this tends to grow positively with age.

Ownership: 1971 Harvest (LP). Gatefold. Acquired in 2019

No legit reissues exist as of 3/8/25.

2/1/19 (review)

Also own and need to review Pirana II.

2/1/19 (new entry)

Rob Thomsett Group - Hara. 1976 Australia

Rob Thomsett is, by most measures, an ordinary citizen. He was in the military and had a successful career working for the Australian federal government. And he also happens to be quite the talented guitarist - with an enormous imagination and creativity rarely seen even among the more avant garde oriented populace. He'd played in a couple of progressive oriented bands prior (Astral Plane and Oak), neither of which lasted long and there's no recorded history. Living in the relatively isolated government town of Canberra, there was no "scene" to which to attach to, or clubs to express one's new artistic vision. So Thomsett looked inward toward the Aboriginal legends and myths. With that, he created one of those 6th Dimension type recordings we talk about often here - for more on that release see here.

Hara is the followup album, and demonstrates Thomsett moving toward a more professional type sound. Ostensibly a jazz fusion album, it still hasn't lost the magic touch that Yaraandoo had, and tracks like 'It Might Have Been - it Will Be!" and the title song would have fit perfectly on its predecessor. In other places an acoustic otherworldly vibe is brought forth. On its own accord, Hara is excellent, though it will always pale in comparison to Thomsett's master work. Well worth pursuing, especially since you can own the whole album along with the aforementioned Yaraandoo (see below).

Personal collection
CD: 2017 Now-Again (w/Yaraandoo)

Was released on LP+CD, or just the CD by itself (which is what I own - since I already had the LP reissue on Roundtable of Yaraandoo). According to the liner notes of the CD, Hara was released in 1976.

Snakes Alive ~ Australia

Snakes Alive (1975)

Snakes Alive were a group that I discovered in my early CDRWL research days. There was much question of its authenticity at the time, especially given the obvious photoshop cover. But it was real, a demo pressing from a circle of Australian musicians who had access to a recording studio and took advantage of it.

---2008

In the early 70s, the music world was teeming with jazz fusion / jazz rock bands. The major two schools were a) The technically proficient, as defined by the Mahavishnu Orchestra, Return to Forever, and Weather Report. And b) The Miles Davis long track deep groove, with many followers in Germany (in particular the MPS label), Poland, Italy, USA, and beyond. These were jazzers who were fascinated with rock's rhythms and power. But finding rockers who were fascinated by jazz was a much more rare breed. Snakes Alive are a rock fusion band. Of course bands like Mahavishnu still come to mind. Even early Zappa and Xhol Caravan to be honest. But, you know, Finch came to mind too. There are vocals, but they are sparse. Trumpet, sax, flute, organ, and guitar are the solo instruments. And it rocks with a capital R. This is a good one, that's now receiving its just notoriety.

---12/24/17

Originals are extremely obscure and was only a demo pressed in a quantity of 50 without a cover. A cover therefore has been appended in modern times (via the Poor House Record shop and subsequent bootleg), and this is what this CD issue used as well.

Ownership: 2017 Belle Antique (CD). Papersleeve. This is the first readily available copy to market. Acquired in 2017.

2008 (review); 12/24/17 (update); 7/10/26

12/26/17 (new entry)

Pantha ~ Australia

Doway Do Doway Do (1975)

Pantha's sole album is a real gem in the rough. The music is like a mixture of that unique Australasian take on symphonic rock, similar to Sebastian Hardie (Oz) and Dragon (NZ) - combined with some of those wonderful early Santana grooves with sustain guitar. Which also reminds me of another regional band: Living Force (NZ). The album can be somewhat poppy in places, reminding me a bit of late era Fruupp actually, but the melodies are highly infectious. This is an album I reach for more often than usual from my collection (well, I used to anyway...). Like I said, it's a real gem.

Ownership: 1975 Wizard (LP). Gatefold.

No legit reissues as of 2/22/25

2001 (first listen); 1//06 (review); 8/13/17 (new entry)

Cybotron - Sunday Night at the Total Theatre. 1977 Australia

This one's interesting. For years it had been presumed this was a legitimate release made to look like a bootleg. When the internet discographies started out, and the tribal knowledge began to dwindle, this was often (as you see on sites such as RateYourMusic) listed as a bootleg. Well, given that the reissue was licensed from none other than Maxwell himself, it appears the in-the-know crowd was right all along. This is an authorized bootleg. And as some have pointed out, the story that now proliferates about gaining a new found audience via a bootleg probably has some credibility. It's a pity there aren't liner notes to accompany (at least for the LP reissue), to set the record straight as to why they did it this way.

Musically it's closer to Maxwell's Monster Planet than the more dynamic debut from Cybotron. Though part of that is the somewhat lo-fi recording, perhaps another reason why the band chose the "bootleg look". In addition to the two side long space journeys, one half of a rare single from 1978 is included, and is certainly the best sounding of the 3 tracks, though it's not even 4 minutes long.

A good album to own if already a Cybotron fan, or for those who enjoy 70's Berlin School electronic music in the Klaus Schulze tradition. Not top tier by any means, but enjoyable on the whole.

Personal collection
LP: 2013 Dual Planet (USA)

Alpha Omega - Down the Gravity Well. 2013 Australia

Had someone fed me this album, and stated it was from a cassette from the UK Festival scene of 1985, I would have had no trouble believing them. Though from Australia, Alpha Omega sounds so very English. Hawkwind is obviously in the middle of the conversation with its driving guitars and bleeping synthesizers. The songwriting has that odd lost warehouse sound of the Soho underground, especially given the sparse post punk vocals. Perhaps early Omnia Opera or Strobe could be a guidepost, or something really obscure like Rancid Poultry. Strange to hear something like this from 2013 - but much welcomed. Nice gatefold cover too. Makes me pine for a new issue of Freakbeat.

Ownership: LP: 2013 Clostridium

9/30/15 (new entry)

Tarot ~ Australia

Reflections (2016)

Tarot's first album (or the compilation of cassette EP's as it were) was a great opener that had a unique blend: The music of the early 80s epic metal bands as played by 1971 era Uriah Heep.

Reflections sounds like 1974 era Uriah Heep. Period. End of story. Not the best period of that fine band now is it?

I'm all for the newer bands recreating the past, with history on their side to filter out only the best parts that have aged well to modern ears. But we don't necessarily need to rehash the past verbatim either. Is the third album going to be straight AOR, followed by a disco album, and then synth-pop maybe?

OK, I'm sure that isn't going to happen. And this is a very good album without context. But I was hoping for more dynamic output. Reflections is a bit ordinary to be honest. Interestingly, I found the vocals to be an improvement on the debut. They had to do something, though as I've read elsewhere, not everyone agrees with the execution.

Former ownership: 2016 Heavy Chains (CD). Acquired in 2016.

12/29/16 (review)

The Warrior's Spell (2015)

Tarot's first full album compiles three cassette EP's from 2014 onto one album, and adds two new tracks in the middle for good measure. The songwriting is epic metal similar to Mark of the Beast era Manilla Road (1981) as played by 1971 Uriah Heep (mellotron, Hammond organ, hard guitar). So this is what is now known as "heavy rock" but with the spirit of a metal band. I wish the vocals to be more dynamic, and they tend to be a bit monotone (at least he sings and doesn't growl or grunt!). A small quibble really. I'm not sure I can hear enough bands who sound like this. I want more. Lots more.

Ownership: 2015 Heavy Chains (CD). Acquired in 2015.

4/27/15 (review); 3/25/16; 7/19/26

4/27/15 (new entry)