First Aid ~ England

Nostradamus (1977)

---2/9/11

OK, I've looked all over my LP for evidence. The label says 1976 and the gatefold cover says 1977. It just can't be. It has to be 1971 right? Even the old style Decca label seems ancient. Everything about it looks and sounds from another era. Did Decca have this one sitting in the vaults - perhaps mislabeled, and decide to release it six years later? Nostradamus, as you can imagine, is a high minded concept album about the supposed fortune teller. Complete with orchestrations, narration - and long guitar / organ jams. Intertwined with melodic pop songs of course. Right on Brother! If this sounds like something out of the Moody Blues or Salamander playbook, well then, you win first prize in the name-that-band sweepstakes. Of course, given this kind of anachronistic behavior, I think it's great. 

---9/29/26

That was my CDRWL entry. Time to enter into UMR while enjoying a revisit. More about the date, as Discogs had it listed as from 1976. For my correction submission notes, I added: "The dates on the label say 1976, but inside the gatefold it is 1977. Further, keyboardist Keith Parkinson offered this on RYM: "This album was recorded in 1975. Unfortunately, this was shortly after the release of a book about Nostradamus. The author of the book tried to sue Decca for copyright infringement. The author was unsuccessful but this delayed the release of the album till January 1977.""

In reading this, Parkinson (who was responding to my review actually) clearly was making the argument the album was relevant for 1975, but I'd beg to differ. It really does sound like a Moody Blues album circa 1971, had they focused on a prog rock theme, versus striving for hits.

I find music like this enjoyable from a nostalgic perspective, including the sentimental melodies. I suppose a band like Strange Days, heck even Kestrel, were peddling this kind of sound as late as 1975. So I can see Parkinson's point of view a little better. It's a nice title, one that I will certainly hold onto. Yet it would be a long time before I pulled this out as a supreme example of prog rock of the 70s.

Of interest, in the olden days of the rare prog catalogs, this album was sold with the title First Aid by the group Nostradamus. In fact, I think I bought my copy with that designation.

Ownership: 1977 Decca (LP). Gatefold. Acquired in 1995.

1995; 2/19/11 (review); 9/29/26 (update)

No reissues exists as I enter this on 9/29/26.

9/29/26 (new entry)

Chango ~ USA ~ New York City, New York

Honey Is Sweeter Than Blood (1976)

I don't think I've heard this album since first acquiring it some 25 years ago. After scoring a copy off of ebay, I was fully expecting to be blown away. And disappointment ensued. Primarily because it wasn't the fiery platter that the debut was, and that's what I expected. Since that time, I've really fallen for the Latin Rock style of songwriting. And honestly, that's the secret sauce of the 1975 Chango album. The intense jams are just icing on the cake. At this point, the band is largely a solo project of lead singer "Peppy" Gomez with some returning members. What's missing is a full time organist, and of course, the shredding guitar of George Tacktitos. Though second guitarist Charles Rook does a splendid job here as well. There's more of a Malo influence this go round, a band I was mostly unfamiliar with in 2001. Much better than my memory had it, though have to set the proper expectation that they've moved on from the early Santana sound (which was wonderfully out-of-date anyway) and onto more Latin soul styled numbers. There's still plenty of hard rock here too, for fans of the genre.

Ownership: 1976 Mercury (LP). Lyric insert. Acquired in 2001.

2001; 9/22/26 (review)
 

Chango (1975)

Imagine yourself walking the barrios in Queens, New York circa 1975. Bums, pushers, hookers, street musicians, and the smell of tortas vendors. You see a small club, it has a name like Enrique's Hell Hole. You venture in cautiously. Torches are lit high, as you tiptoe over the junkies, and tactfully avoid the needles scattered about the floor. You watch as on stage there are six seriously fried dudes. Each cranking out some of the most intense music to have ever been performed on these Atlantic Yankee shores. Two percussionists and a drummer drive the speedy pulse, whilst organ, bass, and guitar all roar, slash, and sing. This is all Chango's first album and for anyone who likes the early Santana vibe, then you are in for a treat, because Chango tread a new path right at the point where Santana went fusion. This is the ultimate culmination of all the best Carlos could muster. A high water mark for heavy Latin groove rock. The album has it all: The screaming Santana guitar sustain fuzz chops; The swirling Hammond organ; The speed-freak-machismo lead singer that all the messed up chicks were somehow swooning for. And, of course, those dance-able rhythms that even this uptight white guy might make note of. The lyrics are exactly what you want from this kind of album: Sex, life-in-the-ghetto, grade-school mysticism - and well....... sex.

Right off the bat, you are pulverized with 'Fire Over Water' followed by the eight minute 'Walk on Hell'. Really, do I need to describe these tracks? Put the environment, instrumentation, song titles, and influences together and you've got an aural vision. Many of the songs are catchy too - you'll be humming them for days. 'Caminando', 'Solid Karma', and especially 'Mira Pa Ca' just have killer melodies. But where Chango excels most is with the instrumentals like the pounding 'Bollo' and 'Bembe', plus the beautiful 'Sacapa'. But the best is possibly saved for last. The nine minute title track combines relentless energy, tuneful melodies, and fiery instrumental playing. It's all very awe-inspiring. Careful though, as you may find yourself in a big heap afterward.

How this album missed the big time is somewhat of a mystery to me. Being that it was released in 1975, perhaps it was too late for the early Santana sound. I'm also guessing that ABC records, not known for their music marketing muscle, had no idea how to promote it. There are very few albums that contain this kind of energy and instrumental virtuosity. And then combines that with a strong melodic sense. A true masterpiece and one of underground America's most proud moments.

Ownership: 

1975 ABC promo (LP). Gatefold. Acquired in 1993.

2000 Akarma (CD). Papersleeve edition. This version has been declared unofficial by band leader Pepe Gomez. Acquired in 2000.

No legit reissues for either as I update this post (9/22/26).

1993; 2000; 8/21/01 (review); 12//04; 5/15/06; 8/4/07; 10/18/16

6/20/09 (new entry)

Hyjinx ~ USA ~ Oklahoma City, Oklahoma

Hyjinx (1982)

Wow! Wasn't this a pleasant surprise? From Oklahoma City, Hyjinx weren't your garden variety early 80s hard rock band. This is more in line with albums like Message (NM), Legend (CT), second album Granmax, and UHF. The opening two tracks are energetic with fast guitar solos, leading one to believe there's some Van Halen influence. A3 is a full blown proggy hard rock number complete with Taurus Pedals and keyboards. The vocalist is female, and yea, you will definitely be thinking classic Rush here. Long spaces are allocated to psychedelic styled guitar solos over the rhythm section.

Side 2 is slightly off the pace though still excellent. 'Greensleeves' is not a hard rock rendition of the traditional song, fortunately. Though a curious title for sure. B3 has riffing very similar to late 70s Judas Priest. Maggie Fagan's vocals are confident and powerful. She clearly could have been a headliner. The album closer is another nod to progressive rock. Starting in acoustic ballad mode, the music shifts to hard rock with some spiritual guitar soloing. 

Too bad these are the only recordings the band released, that we know of anyway. They had real talent. 

Not reissued in any format as 9/10/26.

Ownership: 1982 Packrat (LP). Acquired in 2026.

9/10/26 (review / new entry)

Genre ~ USA ~ Albuquerque, New Mexico

Commercial Success (1978)

---12/21/10

One of those albums that I "discovered" along with a friend. Popularized would be more like it, as I'm sure many others found this album long before I did. At one store in ABQ there was a pile of sealed local albums, almost all of them pop or country. But this fusion album looked like it was worth taking a chance on, so I did. At the time, we were looking for Message - It'll Be Awhile album (also on Black Gold).

Lead by the guitarist - a slightly chunky black dude with a cool fro - named L.A. Jenkins, Genre play a fairly typical late 70's instrumental fusion with toned down guitar leads and Rhodes piano as the lead instruments. While Side 1 isn't particularly noteworthy, Side 2 opens with the excellent 'All Mixed Up' where Jenkins lets loose with a more psychedelic tone to the guitar. And this continues throughout the side, though the standard fusion motif is never strayed from too far.

---8/11/26

Time to add this to UMR. I'm going to bump my enthusiasm a bit here. I find the fusion to be more kinetic and complex than what I stated above. Even though I bought this sealed, the pressing isn't the best. It really would do well to have a masters tape reissue. I would never sell this original copy in any case, but a clean sounding supplement would be nice.

In hindsight I wish I'd bought all 20 sealed copies that we saw (approximate). But at the time there was little market for albums such as this, and money was scarce. Most record collectors have similar tales from that period.

Interesting to note I'm seeing folks attribute the band to the Palm Springs area of California. Umm, the address for Black Gold Records is on Palm Springs Ct. (in Albuquerque) lol. Of course having a guy named L.A. Jenkins also compels one to think of So Cal. It's been corroborated by band members that it was recorded live in an Albuquerque basement.

Ownership: 1978 Black Gold (LP). Textured single sleeve. Acquired in 1992.

No reissues exist as of 8/12/26. However it has been rumored that Noble Records will reissue this later in the year. Likely to be LP only.

5/16/92; 12/21/10 (review); 8/11/26 (update)

8/12/26 (new entry)

Miklagard ~ Sweden

---Feb 2006

Miklagard's sole album is bread and butter keyboard trio prog rock, with nice leads (some fat analog, some thin cheesy), and the always pleasant sound of Swedish vocals. 

---7/31/26

And that was my last listen, some 20+ years ago. Straight and to the point. Let's stretch it out a bit here. The cover (and label) is a dead giveaway we're going into proggy lala land. Jesters weren't quite as cliched in 1979 as they were to become, largely thanks to Marillion and their ilk.

The album starts off with a Hammond organ, so you know we're not going to stray too far away from a pleasurable listen. Yea, ELP is front and center here in the influence category. But the Swedish vocals definitely add a twist and give the album a unique sound palette. Even though most of the cuts are short, save the closer, Miklagard packs in quite a few ideas per composition. Perhaps Trace or Triumvirat are more accurate guideposts given the Continental European disposition. Nothing wrong with that. B2 is a nice piano solo. B3 is, not surprisingly given its length, the most traditional progressive rock track here, with some cool spoken word in Swedish (similar to Trettioariga Kriget). The drum solo reminds me of In-A-Gadda-Da-Vida, one that is actually enjoyable to listen to. Not just spazzing out.

So what is a Miklagard anyway? Constantinople as it turns out. Istanbul. The album proper seems to have no connection whatsoever with the moniker. I think it literally means Great City.

Unlike most prog albums of its kind, you can still pull new copies out of Sweden for around $10 (or less). Guessing they pressed way too many copies. But at least they didn't throw them away. As of 7/31/26, the album has not been reissued (legit that is).

Ownership: 1979 Edge (LP). Acquired in 2006.

2//06; 7/31/26 (review / new entry)

Caldera ~ USA ~ Los Angeles, California

Time and Chance (1978)

I recently heard Caldera's second album Sky Islands, and I just couldn't get into it. I couldn't even muster up a review here for UMR. As I reflect on their quartet of albums, that was their try for commercial stardom, and is the odd one out. From the beginning of Time and Chance, Caldera are clearly going back to their Latin based jazz fusion roots. Jorge Strunz is in full powered Santana / Al Di Meola mode here. There's more than a nod to the latter's songwriting style throughout.

'Shanti' is really nice with female wordless vocals, flute, and searing guitar. And the album closes the proper way, with a smoldering fusion number where Strunz lets loose on the fretboard with plenty of additonal flute.

Three strong albums out of four is a good career I would submit.

Strangely, Time and Chance has never been reissued on CD whereas the others have (though Dreamer remains a scarce Japanese only product).

Ownership: 1978 Capitol (LP). Acquired in 2014.

4/11/14; 7/4/26 (review)  

Caldera (1976)

The CD boldly claims "Masters of Funk & Soul" and "Some of the Greatest Funk Albums Ever!". Generic hype for the series perhaps, but it doesn't really apply to Caldera's debut. Los Angeles based Caldera are in the jazz fusion strike zone. Fastball down the middle. It's a great example of the scene taking some of the more Latin influenced tracks from Return to Forever and giving that style more focus. It's complex yet highly melodic. And well composed. Caldera aren't technical in the same sense as RTF, which is a plus for me. From here they were to add more funk and soul elements similar to the better side of Earth Wind & Fire. All four albums are worth exploring.

Ownership: 2004 EMI / Capitol Europe (CD). Booklet with a short history of the band and album. Acquired in 2005.

5//05; 5/26/24 (review)

Dreamer (1979)

Most bands don't end a career with their most dynamic and progressive album especially in 1979. Caldera had dabbled with commercialism on their sophomore effort Sky Islands, but this one is primarily a fiery instrumental fusion along the lines of 1972-74 era Santana, with some nods to Return to Forever. They threw caution to the wind and just went for it. If only most bands had a similar attitude back then. Arguably - and probably - their best album.

Ownership: 1979 Capitol (LP). Textured cover. Acquired in 2022.

First copy: 2015 Capitol Japan (CD). Acquired in 2015.

7/19/15 (review); 12/18/17; 5/4/22

Previously owned: Sky Islands

7/19/15 (new entry)

Puzzle ~ France

Puzzle (1983)

---9/1/10

Puzzle is a well executed all-instrumental psychedelic guitar driven album, released at a time when very little of this style was available on the market. Perhaps only Cincinnati's Ra Can Row could be called out during this era. There are some really sizzling guitar freakouts here. And actually a few well-thought out melodies, which is not something inherent within the genre. But Puzzle has one fatal flaw. And it's the only thing keeping me raving about it: The dreaded drum machine. Had they employed a real drummer, I would enthuse more about it. Naturally enough, the keyboards are all 1980's era synthesizers too, though the guitar fortunately remains the focus. A fine album overall.

---6/11/26

That was the CDRWL entry. I since acquired the LP, heard again, and then filed. So here I am once more (Fish anyone?) to enter into the UMR with a fresh listen.

I first read about this album in one of the many dealer catalogs I received in the 90s. The way it was described, talking up the psychedelic guitars, had me very intrigued. I'm sure they used Heldon as a reference too. No one mentioned the drum machines. Funny how that was a bugaboo for me back then, but today they don't distract me much, if at all. In fact I welcome it - from an historical perspective. For a new album I most certainly would expect a human drummer to participate. But for an album from 1983, I can appreciate the era in which it was released, and the constant looking forward to new technologies. Though it should be mentioned there is real percussion deployed, but the rhythms are primarily carried by a drum machine. And its usage here is pretty sophisticated for the early 80s.

Though a group effort, its nigh impossible to ignore Andre Muller's psychedelic infused guitar all over this. As with LS Bearforce and Ra Can Row (noted above), no one was reaching back into the late 60s and early 70s to achieve that tone. There are only three tracks here, yet Puzzle keeps the music hopping in all sorts of directions. In some ways I'm reminded of Tiemko's Ocean, an album that was to come along about seven years later. And Eric Delaunay had no qualms with throwing in electronic percussion here and there. Overall a really solid album and I enjoyed a +1 listen from this session.

Puzzle is a rather difficult album to categorize. Is it prog, fusion, electronic, space rock? The answer is yes. 

This is one of those albums you'd think would be worth a fortune today, but you can still pull this out of France for relative cheap. For my fellow Americans, you'll have to wait for international postal rates to recess back to normal (and they will), then you might want to mail order one. Or fly to Paris and bring it home. Might be cheaper.

No reissues exist as I create this entry on 6/11/26.

Ownership: 1983 private (LP). Acquired in 2013.

9/1/10 (review); 11/27/13; 6/11/26 (update / new entry)

Tiemko / Eric Delaunay ~ France

Parade (1992)

Parade is the 3rd effort from Tiemko and is largely a continuation of Ocean, as described below. No changes in tonality whatsoever, Tiemko were decidedly a band of the early 90s. Their ability to craft complex compositions with a high melodic content remained, much to their credit. The songs are more compact this go round and filled with counterpoint. This all plays to their strength and doesn't force the band to improvise as much. The description of electronic jazz fusion is apt, while fitting very comfortably into the genre of instrumental progressive rock. The album closes with its strongest cut 'Hymne'. It's difficult to decide which is the better of the two albums, Ocean or this. But these are definitely the two to obtain if curious about them.

BTW, this title never came out on LP either, so there.

Ownership: 1992 Musea (CD). Booklet with silly interpretive drawings featuring our trio. Acquired in 1992.

1992; 11/20/17; 6/4/26 (review)

Ocean (1990)

When Tiemko's Ocean and Minimum Vital's Sarabandes were released, I was still an LP-first buyer and the only CDs I was considering were the stray reissue of (usually) impossible to find rarities. The label (Musea) said that they had no intent of issuing either of the above on LP. So I needed to make a very important decision: Was I going to maintain that stance and miss out on the new CDs? Or get with the program and join the CD revolution? I chose the latter, a decision I do not regret for a second some 33 years later, as a good portion of my collection remains full of CD-only albums. And interestingly enough, Musea stayed true to their word. Both of these albums remain without an LP release, even though they are single album length. I believe they might be the oldest albums in my entire collection that are in that state (i.e. CD only).

Regardless of the media format, how has the music of Ocean held up? It's been forever and a day since I last heard it, certainly not in the last 20 years. Happy to say it has aged very well for me, and I recognized most of it immediately, indicating I had heard the album quite a bit when I first received it. While collectors continue to mine the 1960s, 70s, and early 80s, it appears no one cares about this era of progressive rock today. But for me and a few others it was an exciting time when bands from around the world suddenly woke up to a style that barely had a heartbeat only a few years prior. I already owned their debut Espace Fini, so I had an idea of what to expect. In those days we weren't so obsessed with hoping that bands would recreate the past with analog only instrumentation. As long as the music was of a high quality. It's not easy to maintain interest for close to 50 minutes with an all instrumental release performed by a trio. But they're a talented bunch and both the guitar and keyboards are well played. And yes, even some vintage Mini Moog can be heard. Veteran drummer Eric Delaunay keeps things hopping to ensure boredom never sits in. Strong melodies, well crafted compositions, some good jamming with undertones of fusion and electronic. A time proven recipe for a good prog album. Music like this receives mucho nostalgia points from me.

Ownership: 1990 Musea (CD). Acquired in 1990.

1990; 9/24/23 (review)

Eric Delaunay - Antagonisme! (1980)

---8/25/10

Not much is known about drummer Eric Delaunay's past. We learn from the liner notes of Musea's reissue of the second Asia Minor album that Delaunay had been an early member, but left prior to any recording. Then time passes, and he finds himself with a group under his own name on major label Vogue! How he was able to achieve this remains something of an unknown. Especially when one considers how noncommercial Antagonisme! really is. 

The album itself is all instrumental, built upon complex structures and themes. There's some fantastic guitar and keyboards here, along with Eric Delaunay's driving rhythms. Special kudos go to bassist Paul Amar who plays a major role throughout. Other than a couple of short keyboard atmospheric pieces, Antagonisme! is an energetic, well produced, instrumental progressive rock album. Well worth pursuing.

After this album, none of the other members resurfaced again, beyond Delaunay himself. He later formed Tiemko and one can easily hear his songwriting and approach being applied. Especially on their debut Espace Fini, but with more modern equipment (for better or worse).

Ownership: 1980 Vogue (LP). Acquired in 2019.

No (legit) reissues exist as I update this post on 6/4/26.

8/25/10 (review); 3/16/19 (update) 

Also own: Espace Fini

Previously owned: Clone

3/16/19 (new entry)

Tamalone ~ Netherlands

New Acres (1979)

I'm not certain I've heard this album since purchasing (or trading) for it over 30 years ago. My recollection is that Tamalone was heavily influenced by Jethro Tull. Let's see what this listen brings.

Well, yea, it's really obvious that Jethro Tull is front and center here. The vocals have the same intonation and tone. The basis of each song is of a woodsy folk rock nature, and gets a bit wordy at times. There's plenty of electric guitar riffing and soloing, which is arguably the highlight of the album. Flute is not near as prominent as with Tull, though it is present, and that leaves more room for the guitar to jam out. Organ also plays a major role in their sound. The compositions are original, well thought out, and I would disagree with those that state it's a clone of Jethro Tull, which implies the band is copying note for note certain passages. Considering that Tull was hardly in Thick as a Brick mode by 1979, I'm sure Tamalone figured they would fill that void for local audiences. I'm down with that.

Ownership: 1979 Crossroad (LP). With two page lyric insert. Acquired in 1995.

No reissues exist as of 5/20/26. Discogs' biography for Tamalone refers to multiple other tapes and albums through 2016, yet mysteriously none are actually listed on the site. Guessing they were never released in physical form.

1995; 5/20/26 (review / new entry)

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.

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

The album remains without any kind of reissue as of 9/27/26.

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

2026 Psychedelic / Garage Journal Vol. 1

Au.Ra - Jane's Lament. 2015 Felte (LP). Found this for a quarter digging in the bins. I always buy modern albums if I find them cheap. Most are of the indie rock / alternative variety, which I really can't stand. Those get scanned and dumped into the show boxes immediately, hoping to find a home to a more appreciateive audience. But this one was different, so I set it aside for a full listen and here we are. Starting with a motorik beat similar to Neu or Can, Australia's Au.Ra go about layering shimmering psychedelic guitar tones (no ripping solos however). It's just a couple of dudes, but they have an effeminate sound. I guess technically they fall into the shoegaze / dream pop category. Which I know very little about, but it seems to be the soundtrack to every multi-colored haired, pierced, and tattooed person I run into when I'm in the more densely populated urban areas. Certainly Stereolab is in this conversation given their psychedelic disposition. This is the kind of music I like hearing at a record store, though I know better than to take one home. It generally lacks depth, not ideal for multiple intensive and life changing listens. But it is very easy to listen to as background. Final track is more electronic and represents a nice diversion. Certainly the album deserves more than 5 dollar record status, but yea, I can understand that too. Lots of it in the marketplace. Not really psychedelic or garage, but where else to put this? It's fine here. (4/18)

Sky Sunlight Saxon - The King of Garage Rock. 2008 Garage Masters (CD). I'm largely ignorant of Sky Saxon's works including his legendary stint with The Seeds. Raised a Mormon in Salt Lake City, Richard Marsh can only be described as a "true believer" of the ideologies of the 60s hippie movement. He joined the YaHoWa commune in 1973 and continued to play underground music throughout his life. His music is generally associated with the garage side of the house, whereas my interests lie in psychedelic. Which is why I haven't pursued his albums with much interest prior. His legacy was alive and well going into the mid 1980s, and unlike most famous (or semi-famous) 60s artists, Saxon was a more than willing participant in the neo garage movements of the decade. He continued for another 20 years before passing away. One year prior to that event is the album I'm checking out now. It's essentially a covers album of famous 60s hits with fuzzy guitars and barking vocals. The fact that Saxon was 71 at the time gives him a free pass to do whatever he feels like. Even though Gurumaniax takes the cake for old codgers igniting stereos in flames, it's always refreshing to see others follow suit. In the end, this album is redundant and probably unnecessary. Not a bad way to go out though. (3/7)

Mount Rushmore - High on Mount Rushmore. 1968 Dot (LP). It was way back in college that I stumbled upon Mount Rushmore's 1969 sophomore - and last - album. Long sold off, I'm now hearing their debut for the first time some 40 years later. Much more consistent than most American bands from the late 60s, Mount Rushmore stick to what they know best: Heavy blues based psychedelic infused hard rock. Gruff vocals, fuzz guitar, plodding rhythms. Nothing revelatory but a good one for genre fans. Neither of their albums have been reissued on CD (legit that is), and that would be a better way to go here. This copy came from a dig in the bins and is in subpar condition. And that seems to be the case for every copy I've seen. (2/20)

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)

Bizarre Ko.Ko.Ko. ~ Austria

00 Time (1984)

---1/21/11

Regular readers of the CDRWL know that I'm quite fond of the Berlin School of sequencer based electronic music. And that's where Bizarre Ko.Ko.Ko. fits in perfectly. In fact, this is version 2.0 of Cultural Noise, an LP from my collection that I fawned over way back when. This isn't that dissimilar from Cultural Noise, though it's clearly moving away from the Tangerine Dream influence, and adding an overall darker mood. Mellotron, sequencers, and guitar are all present, especially early on. It begins to deconstruct towards the end, making it sound more like an early Klaus Schulze effort (think Cyborg). Really a fine effort and a must hear for EM fans.

---3/16/26

That was the original CDRWL entry, penned after acquiring the LP. This is my first revisit since and I'll add it here to UMR.

One can't talk about Bizarre Ko.Ko.Ko. (would like to know the reasoning behind that moniker) without referencing Cultural Noise. And that's because they are 2/3rds of the same band. Looks like it was Gerhard Lisy who sat this one out. The crazy titles stayed in place as well, with 'Retracting The Reflected Consciousness Of All Having Come To Into Being' taking first prize. And look at that cover. What the hell were these guys into? Alien insanity, that's what. If curious, the cover was done by one of the two members of the band: Walter Heinisch. Clearly Hans Rudolf Giger was an influence here.

Musically these guys were still entrenched into the analog 70s. No hints of 1984 here. This isn't their "Poland" or "Drive Inn" album, that's for sure. Some very inventive sequences can be heard, especially on B1. I referred to B2 as deconstruction, but there's plenty of sequencing there too.  

Ownership: 1984 Synoptik (LP). Acquired in 2011.

No CD reissues as of 3/16/26. Has been reissued on LP.

1/21/11 (review); 3/16/26 (update / new entry)

2026 Fusion / Jazz Journal Vol. 2

Weather Report - Heavy Weather. 1997 Columbia Legacy (CD) (1977). This is Weather Report's most known and best selling album, one that I never truly connected with. Of course all copies I've found prior were commodity LP pressings, and usually in VG condition, which can be distracting. The 69 cent bin comes through again with this wonderful looking CD. Let's see if my viewpoint changes. The album opens with their trademark hit song 'Birdland'. This is a song we played when I was a stage band performer in high school. I didn't like it much then, and honestly, I still don't. It's too... happy I think. Something about it. The title is a misnomer as well, nothing heavy about the album whatsoever. My understanding is that Weather Report did not like to be associated with the fusion crowd, and of the albums I've heard, I have to agree with them. On Heavy Weather, the music veers closer to ECM, and even smooth jazz territory. If requested to choose a favorite track, I'd go with B2 or B4. I have yet to encounter a Weather Report album I feel compelled to keep, including their earlier avant garde works. But I'll keep trying, as I'm up for revisiting some as well as there's a few I missed altogether. (3/7)

Kenji Mori Quintet - Firebird. 2020 Craftman / Three Blind Mice (CD) (1977). I picked this reissue up a few years ago, and had a relatively high rating on it, though recall nothing about the contents. The album starts off like a psych work though quickly gets into some boppy sax. Not really my style. The second track is Nino Rota's 'Time For Us', a pretty track that Mori's flute gives the Lloyd McNeill treatment, if not too comfortable and predictable. This leads to the two part title composition. The rhythm lays down a deep groove while Kazumi Watanabe solos on the guitar and Mori responds on recorder and sax. Nothing particularly incendiary from either though. The second half gives us a sunnier tropical feel with similar solo results. A solid entry, not really kozmigroov, not pure jazz, not fusion, but elements of all the above. I think I rated it a bit high though. (3/2)

*Bjorn J:Son Lindh - Ramadan. 1971 Metronome Sweden (LP). It was only a couple of years ago I revisited Cous Cous from my collection and, while it was enjoyable on an easy listening level, decided to let it go. I bought Ramadan at the same time, and presumed that it would be similar. I hadn't heard the album since acquiring it 25 years ago. I was pleasantly surprised to learn that the two are very different. Ramadan is much more funky and even progressive at times. I've always enjoyed Lindh's flute work, and the key ingredient here is Kenny Hakansson on guitar. He of Kebnekaise fame. Unlike Janne Schaefer, Hakansson brings a psychedelic flair to the proceedings. Though I wish he had an opportunity to light it up more. Three of the eight tracks are more acoustic in nature and these are the middle eastern themed compositions. Otherwise it's a fine kozmigroov funky flute extravaganza. A bit surprised this album doesn't have that much cachet. It's relatively inexpensive despite never having been reissued on CD. Regardless, I'm definitely holding onto this. Features a nice gatefold cover as well. (2/25)

* - Keeping for the collection

Kornet ~ Sweden

Kornet III (1979)

Funny to be hearing this album four years to the day since I last heard Kornet's debut. Their third and last album sees the band playing more towards traditional jazz fusion, as presented going into the 1980s. A3 is an Egyptian traditional, but it comes across more as a novelty piece rather than a serious world fusion effort. Kornet are no Embryo that's for sure. B1 adds in a full brass section, though despite having a large photo expose, their presence isn't that much felt. Final ten minute track is atmospheric, and would constitute my favorite. A whole album like that would have resulted in a high level new age effort. Instrumental highlights include Stefan Bjorklund's electric guitar and Stefan Nilsson's Rhodes and Minimoog. A good effort overall, with fine musicianship, though not enough to distinguish itself for shelf space.

Source: 1979 Svenksa Love / Pick Up (LP). Inner bag with recording details.

1/18/26 (review)  

Kornet (1975)

Here's another old CDRWL entry that I heard last night, and which resulted in a +1 listen. Probably because I'm really enjoying jazz rock / fusion at the moment. This one opens up just as the recently posted Return to Forever closed down. Wait a minute... Ah, but this has plenty of flute and light sax to differentiate, along with the usual guitars, keyboards, rhythm section. Strong melodies, some excellent hard rocking instrumentation, including good solos. It's definitely a mid 70s Euro Fusion album, taking the best of the American pioneers and mixing in their own hidden recipe. Easy rec for fans.

Ownership: 1975 Manifest (LP). Acquired in 2022.

12/23/09; 1/18/22 (review)

Also Fritt Fall.

No reissues for any of their albums as of 6/24/26.

1/18/22 (new entry)

Vangelis ~ Greece

Albedo 0.39 (1976)

Here's an album I've owned in one form or fashion for 35 years, but never got around to penning any notes for it. Vangelis had this habit of throwing out rock textures every once in awhile before being drawn back to softer electronic music. He was a natural leader in the new age movement of the 1980s, and achieved great success with Chariots of Fire. His music more famous than the movie. The opener here 'Pulstar' is one such creature, filled with heavy rhythms and electric guitar. Most of the longer songs are rock based, though still very much rooted in the electronic sphere. I'm not always keen on his synth textures however. Some of them I find grating. Other than the opener, the other highlight would be the two part 'Nucleogenesis' which mixes rock drums with synthesizers, including the use of sequencers. Much more classical symphonic than Klaus Schulze and Edgar Froese's experiments at that time.

Former ownership: 1997 Windham Hill (CD). Alternate cover to fit the label's motif. Oddly this is the only US CD pressing of this album, including compilations. Acquired in 2025. Downsized in 2026.

First copy: 1976 RCA (LP). Acquired in 1990.

1990; 2/6/13; 5/23/17; 12/22/25 (review)

L'Apocalypse des Animaux (1981) 

Though recorded in 1970, the album wasn't originally released until 1973. This is a TV soundtrack and very much ahead of its time in using electronics to set the mood. A bit slow for listening but one can certainly admire the pioneering spirit. Along with his group Aphrodite's Child, Vangelis was leading the pack in creativity in the early 70s. He settled into old age too fast. 

Source: 1981 Polydor UK (LP)

6/18/24 (review)

Hypothesis (1971 / 1980)

---2004

Hypothesis and The Dragon are loose jazzy rock jams from 1971 recorded prior to Vangelis' masterwork 666 with Aphrodite's Child. Vangelis treats these two recordings much in the same way as Klaus Schulze does with the Cosmic Jokers, in that he's distanced himself from them and claims they were never meant to be released to a larger audience. This argument can be further advanced by the fact that the LP's were released some seven years later. And Vangelis successfully sued to have them removed from the market. Though not in time for them to proliferate worldwide.

---5/18/23

Picked this up for a buck at the Austin show. I've had it before but my opinion remained unchanged on this revisit. I'll sell it again.

Former ownership: 1980 Oxford / Affinity Italy (LP)

1990 (acquired); 1996; 2004; 5/18/23 (reacquired / review)

Antarctica (1983)

I never heard this album, but it was very prominent in the import sections back then, which was my heyday into discovering new electronic albums. When one sees Vangelis and Antarctica, my mind moves to glacial and dull. But that's not really the case here. It's majestic and accomplished. While it for certain sounds "modern" by 1983 standards, its structure is based in both classical and 70s electronic. A very nice, mellow, late evening listen to reflect upon one's life. Probably not enough here for me to keep at this point, but I consider this in the upper tier of Vangelis' solo works.

Source: 1983 Polydor Japan (LP)

8/7/21 (review)
 

Mask (1985)

Similar to Mike Oldfield's Amarok considering sequence, Vangelis' Mask is an album out of nowhere. By this time, most of his music was wimpy New Age. But not Mask. Heavy sequencing, haunting choirs, pounding percussion, and moody textures define this advanced work. A great album that has stood the test of time. And a good one to play to those who think Vangelis is an artist to be ignored.

Ownership: Polydor (CD). 90's pressing.

1989 (LP acquired); 9/15/19 (review)

Sex Power (1970)

Sex Power is Vangelis' debut solo album, which is a pretty crude, but well done, soundtrack to a French soft core erotica flick. There's the usual ambient atmospheric keyboards, along with Martin Denny styled Exotica (bongos, voices), as well as sound field tape sounds. Decent enough for the era. Not sure why this hasn't been reissued (legit of course), given its historical value at the very least. Guess the artist wants nothing to do with it.

9/8/19 (review)

Also own and need to review Earth.

Once owned the following: Heaven and Hell; Opera Sauvage; China; The Friends of Mr. Cairo; Soil Festivities; The Dragon

9/15/19 (new entry)

Alain Renaud ~ France

Out of Time (1976)

---2008

Out of Time is a completely different affair from the debut. Here, Renaud mixes instrumental rock fusion with some vocal oriented tracks that have me coiling in despair. There is one longish electronic piece similar to the debut, that's quite nice. 

---11/21/25

The opener is a strong jazz rock piece, and as noted above, is very different from the electronic oriented debut. This leads to three vocal tracks, that are odd at best. It's hard to imagine the audience here. They are straightforward rock pieces, minus any kind of hooks. Sounds like many UK bands of the mid 70s trying to figure out what they should be releasing to remain popular, but didn't manage it. Groups like Wishbone Ash, Man, and Humble Pie come to mind. The vocals could be called, cynically I guess, Out of Tune. The last track on Side 1 ends with a fine extended guitar solo from Renaud. The almost-side-longer 'Straight Ahead' (interesting title given what I said above), starts off like the first side, then it finally veers into experimental territory. Which is what one expects the whole album to be, given the Heldon and Urus connotation. Plenty of cosmic blues jamming and droning electronics.

While certainly not the highlight of my collection, I've owned this album for 37 years, so I'll hang on to it for now.

Ownership: 1976 Urus (LP). Acquired in 1988.

1988; 2008 (notes); 11/21/25 (update)

Also own and need to revisit Renaud (1975).

Neither album has been reissued as of 3/12/26. Both albums plus tracks from the Tryptique single would fit comfortably on one CD.

11/21/25 (new entry)

EGBA ~ Sweden

Jungle-Jam (1976)

---Mar 2006

They don’t play drums like this anymore! And that’s a shame, because this guy propels what could’ve been a garden variety US sounding jazz fusion album. But this being Sweden and all, we have that unique flavor that comes from not seeing the sun four months of the year. Seven piece group lets it all hang out on these ten energetic compositions. Wah-wah and flute groovers too! For my dead president, better than the more recognized Swedish group Kornet. Naturally no CD exists as is typical for the more jazz influenced bands of the progressive era. Somewhere between Return to Forever and an instrumental Mandrill.

---10/6/25

And here we are almost 20 years later, and the reissue situation remains the same. For whatever reason, interest in jazz oriented CDs is pretty much nil. Even marquee artists like Miles Davis and Herbie Hancock don't command more than a couple of bucks in the used market.

No matter as the LP remains cheap, and this is only my second listen to mine. Sax and trumpet are the primary solo instruments, with electric piano, clavinet, guitar, and flute as the secondary supplements. In my original review I was implying, but did not explicitly state, the funk element that is fairly prevalent. It was less to my taste back then and I enjoy that sound more today. Perhaps not a fair assessment, but I tend to appreciate more the American bands that incorporate the style. It's more cultural than imitation that is to say. The fiery fusion bits, however, seem more native to Europe. And there's plenty of that here too. EGBA have a global focus and you'll hear African and Latin influences as well. These latter styles were quite prevalent in Sweden during the 70s.

While it remains true that Jungle-Jam doesn't break any new ground, it is a very well executed album. A nice way to spend close to 50 minutes with.

Ownership: 1976 Sonet (LP). Acquired in 2006.

3//06 (review); 10/6/25 (update)
 

EGBA (1974)

EGBA were a Swedish jazz / rock group with emphasis on the former. Nice flute, electric / acoustic piano, and jazz-tone guitar - all within the confines of tightly arranged compositions. Some African influences foreshadow what Archimedes Badkar would eventually come to on Tre. Longest track contains a funk rave-up with fiery solos from sax, guitar, and electric piano. This copy includes a live cut with a distinctly Latin jazz vibe with quite a bit of solo percussion. 

Recently learned that EGBA is an acronym meaning Electronic Groove & Beat Academy.

Source: cd-r

2006 (review); 8/4/19 (update)

No reissues for either as of 10/6/25. EGBA went on to release seven more albums through the 80s, and one additional album in 2004. If I find them, I'll be sure to check them out.

8/4/19 (new entry)

Release Music Orchestra ~ Germany

Vlotho 1977 (2022)

Release Music Orchestra is one of the very few bands where I've documented my collection in full. For those that I own more than three albums that is to say. Vlotho 1977 is a newish archival document that just arrived here for the first time. Might as well keep the momentum and get right to it.

Let's start with my thoughts from the Umsonst und Draussen festival album itself: "Release Music Orchestra is a relative big name, and this is their first appearance for the free concerts (on LP - they were there for the '76 festival too). Only Kraan is missing at this point! Here, they offer a slow and atmospheric jazz piece." That piece is 'Sonntag' and is track 5 here.

As with the Bremen 1978 show, Release Music Orchestra is far more attuned on Vlotho 1977 to the original premise of the band than what showed up on their later albums. As for the material, only half of the songs appeared on their studio albums, and all of them have been extended considerably from the originals: 'Sundance' (from Get the Ball), 'Torso Im Summerwind' (Garuda), and 'Up By The Riverside' (Beyond the Limit, which hadn't been released by the time of this concert). And the aforementioned 'Sonntag' was released as is on the Vlotho 1977 compilation. The opening new song 'Rico' sets the tone, and pace, with some frenetic drumming before launching into the patented RMO jazz fusion sound. This song was also on the Brain Festival 1977 album, but this version is different.

The extended sections generally allow for more soloing, mostly from saxophonist Gunther Reger, which can get a bit pitchy at times. I found Rurup's keyboard and synthesizer solos more pleasing. Wolfgang Thierfeldt's drumming is quite energetic, and I suspect he met his calorie burn goal for the day.

The final track is a 16 minute jam titled, appropriately enough, 'Free and Outdoors 77', which is the English translation of Umsonst und Draussen. Bassist Frank Fischer shines the brightest here. In conclusion, a very fine archival document from a band that has still been neglected in the reissue market all these years later.

Ownership: 2022 Garden of Delights (CD). Booklet with historical liner notes and photos. Acquired in 2025.

9/25/25 (review) 

Life (1974)

I've recently written about the second and third RMO releases, but what about their debut? It's different in that it's a live effort, something the band states it wanted to do to capture their energy ("tension and electricity" as they put it). Coming fresh off their former work, under the Tomorrow's Gift moniker, Life has a similar jazz focus, but is geared more towards the upcoming fusion movement. Given the lack of any memorable melodies, I find Life harder to get into than their next two albums, which puts me in the minority camp. However, a couple of repeated listens convinced me Life is at the same level, just a less immediate sound.

Ownership: 1974 Brain (LP). Gatefold cover with full recording details in the center (in both German and English). Life is generally considered the first album on the green label that does not have the word Metronome underneath. However it does still have the word on the cover, and this would be the last album to feature that. Acquired in 1998.

1998; 6/17/21 (review)

Get the Ball (1976)

On RYM, they have a feature called "Discussion" that is embedded within each album's page. It will show if that specific album has been referenced directly (via link) in a specific thread by one of the contributors. What's most interesting about Release Music Orchestra's third album Get The Ball, is the title of the three threads it has been mentioned as a part of (as I write these notes): 1) "Funky Krautrock"; 2) "Synth-Oriented Krautrock"; 3)"Gimme More Jazz Fusion Like..." That folks, is my review of the album right there.

RMO is clearly moving away from their Canterburyish sophomore release Garuda, and heading more into the trendy funky fusion waters of the era. On paper, that sounds like a potential disaster, but in the hands of the veteran RMO, it all comes together nicely. Some fantastic Rhodes and synthesizer work can be heard, and the rhythm section is always on point and edgy. The female vocals only add to the vibe. A very consistent album, where every track could be considered excellent.

Ownership: 1976 Brain (LP). Acquired in 2018.

2010; 9/21/18 (review)

Garuda (1975)

Release Music Orchestra is Tomorrow's Gift version 3.0 and Garuda is their second album under this moniker. By this time, the band are a well oiled machine, and they mix expert musicianship with strong melodies and complex compositions. The title track is sit-up-and-pay-attention worthy, and is a strong Canterbury styled tune similar to Hatfield and the North at their peak. When Release Music Orchestra catch a groove, the results are divine. There are five fully realized compositions on Garuda, and five "Zwischenspiel's", which translates to interludes. Each member gets a short 30 seconds to a minute to improvise. While not exactly on the same level of Yes' Fragile, I do prefer the efficiency. Of these, I thoroughly enjoyed Manfred Rurup's (keyboards) and Margit Haberland's (vocal) contributions. Overall I'd submit that Release Music Orchestra are a bit more jazzy than other German followers of the Canterbury sound such as Brainstorm and Tortilla Flat, but they would still have to be considered pioneers in the upcoming Kraut Fusion movement that was to dominate the landscape in the next few years.

Ownership: 1975 Brain (LP). Acquired in 1999.

1997; 1999; 7/11/18 (review)

Bremen 1978 (2004)

Live recording from their Beyond the Limit years. Way more stretched out and improvisational than the album proper. Takes a bit to get going, but once they catch the groove, they zone out into an earlier and more pure era of music. No more sunny skies, fake smiles, and bad teeth. This is Kraut Fusion for the Umsonst und Draussen set.

Ownership: 2004 Garden of Delights (CD). Booklet with historical liners. Acquired in 2017.

8/6/17 (review)

---

None of the RMO albums have been reissued as I update this post (4/28/26).

8/6/17 (new entry)

Argent ~ England

Counterpoints (1975)

About four years ago I was on quite the Argent kick. They were a band I largely ignored until finding the live album during the pandemic. That was then followed by Nexus and the box set that possessed their first four albums. I since sold Encore and the box, with the anticipation that I would eventually find the Argent studio albums on vinyl. But that surprisingly didn't happen, and Counterpoints is the first one for me to find in the wilds since 2021. It's also the end of their trio of progressive rock albums before essentially calling it a day as a band. I've put my views on the box set at the end of this post, and perhaps I'll flesh each out individually as I find them. I haven't heard Counterpoints or its predecessor Circus, so it's time for me to get back on the Argent saddle. 

Mellotron on the opening cut, and yes, heavy counterpoint on tracks 2 and 3 immediately point to both Yes and Gentle Giant right up front. The next song sort of floats by and then we're introduced to the jazz fusion side of the band to close out the side. No doubt Phil Collins bringing his Brand X influence with him. Guitarist John Grimaldi gets to show off his chops here. B2 is the type of song Russ Ballard would throw in, so it's placement here is unnecessary for their new direction. B4 is another curveball and reminds me of Santana at his soulful best, complete with mellotron no less.

Interesting to read that both RYM and ProgArchives have this album rated quite low. And I wouldn't be surprised if Gnosis was there as well. It's a mite inconsistent and it doesn't possess any real highs, but it is solid 1975 English prog fare. I also noticed the 3rd track is called 'Time' and I was strangely reminded of the post Spontaneous Combustion group. Perhaps not that all-in progressive, but there are moments that had me thinking about them. Also Druid sort of floated to the top. Yea, I'm keeping this.

One other curiosity: Counterpoints has never been reissued legit on CD. Sure, there's the always questionable Big Pink version, but nothing that screams specialist label. Seems like a rescue project for Wounded Bird or Iconoclassic.

Ownership: 1976 United Artists (LP). Acquired in 2025.

8/30/25 (review)
 

Nexus (1974)

By this point, Argent are two completely different groups. One is lead by Argent and bassist Chris White; the other by guitarist Russ Ballard. And never the twain shall meet. Argent and White are pretty much in full-on Yes territory by this point, and all their compositions are very satisfying. Ballard is busy trying to create hits, though mostly he succeeded at writing some good hard rockers this go round, especially on side 2, which he pretty much owns. I found myself enjoying this one quite a bit.

Ownership: 1974 Epic (LP). Acquired in 2021.

3/14/21 (review)

  

Encore (1974)

All these years later, and I really don't know much about Rod Argent's music. Some of his work with The Zombies of course. And then 'Hold Your Head Up' was still getting regular radio airplay in the late 70s and early 80s. I was always intrigued by that song, though honestly it never seemed to hold my attention for the track length. And that's about all I knew. Their albums have always been easily available, but I never bothered to investigate. So when this double live album found its way to a local thrift shop - and in excellent condition - what the heck, let's blow the $2 and see what happens. As the track lengths indicate, Argent stretches out instrumentally in a live setting, and this works to their advantage - or so it seems. Though I'm not familiar with the studio versions as noted above. The reviews I've read are mixed about this live effort. Argent himself makes these compositions work, with some fine organ soloing and mellotron bits. Of course there's plenty of guitar from Russ Ballard as well. Good place for me to start. I'll definitely be digging in the bins for their studio albums too.

Former ownership: 1974 Epic (2xLP). Acquired in 2020

8/6/20 (review)

Original Album Classics. 2009 Epic Legacy (5xCD). I don't really have much background with Argent, so finding this box set with the rest of the sale was a thrill. I discuss my history with Argent on the Encore post as well as on Nexus, which is the 5th album in this set. And probably my favorite. The debut still has a Zombies leftover psych feel. It's a very good album, though maybe not enough to convince me to pursue further. Along with Nexus, I think Ring of Hands is the best album here. Very strong early progressive rock work, with superb organ and guitar. All Together Now loses some of the momentum, though it features their most known (and excellent) cut 'Hold Your Head Up'. In Deep is even lesser to my interest as Argent are getting further away from progressive rock, and more towards standard radio fare. Fortunately they reversed gears on Nexus. This box set has no bonus tracks to supplement. Since I already have Nexus on vinyl, I can let this one go, and will look for Ring of Hands separately (LP or CD depending on what I find). I don't think the debut and All Together Now would survive on their own, though both definitely are worth checking out.

10/26/21 - 10/27/21 (review)

8/6/20 (new entry)