Secret Saucer ~ USA ~ Cleveland, Ohio

Element 115 (2001 / 2005)

I was reviewing the notes below while listening to the first few tunes on Element 115. This was Secret Saucer's debut and is much more geared towards pure space rock than Second Sighting. In this way, Element 115 ties closer to Tri-Angle Waves. Mostly the album is slow paced spacey blues rock with loud psychedelic lead guitar and swooshing synthesizers. Imagine mid 70s Pink Floyd as strictly an instrumental jam band. I quite like the processed organ sound on track 11. 

Secret Saucer were carved out of another space rock collective from the area known as Quarkspace, who had a similar motif. That band were more improvisational in nature, so their albums were more hit and miss. Secret Saucer, while certainly not conservatory styled composers, do seem to have a beginning, middle, and end in mind before entering the studio. Recorded in 2001, it is documented that this album was indeed purely improvised. Pretty impressive then. As a debut, I find the album refreshing as we are treated to a new set of sounds from a unique mix of musicians. 

Both ProgArchives and RYM have very few ratings for Secret Saucer's albums, but strangely PA has Second Sighting considerably lower. For my tastes, I prefer it to other two I've heard. See below as to why.

Former ownership: 2005 Dead Earnest (CD). Booklet with recording details. Acquired in 2011. Downsized in 2026.

8/27/10; 3/7/11; 9/15/25 (review)
 

Second Sighting (2007)

Second Sighting is Secret Saucer's second album (quite alliterative I'd suggest). It took me a long time to digest this one. Though I first purchased the CD seven years ago (a few years after initial release), it's not one I had absorbed at all. When I began to tackle it a few days ago, I didn't think it would take me a week to grasp it. But sometimes that's what it takes. The reward is I raised the rating, and Second Sight definitely is a cut above your garden variety modern space rock album. Though ironically it doesn't start that way. 'Lift Off' is a prototypical Ozric Tentacles styled opening with whooshing synthesizers and ripping guitar solos. After that the album shows a wide array of influences. 'All the Way to Outer Space' has a strong bluesy hard rock twist, that is unusual in this type of setting. 'D-Walker' introduces the key ingredient to the album's success: Piano. There's something magical about the sound of the grand old dame of acoustic keyboards juxtaposed against modern synthesizers and electronics. 'Tranquility Base' introduces yet another form, that of electronica, though still very much rooted in space rock principles. 'Untitled Dream' sounds like an outtake from Edgar Froese's Ages album, and is heavily drenched in discordant mellotron (sampled I'm sure, but very well done). The album peaks on the 'Disintegrator' / 'Integrator' duet where the piano is quite prominent while the intensity is raised. By now you'll find yourself fully immersed into their sound. 'Reflections' adds electric sitar to great effect. Every track is great, and most feature well written compositions and melodies. This is a far cry from your garden variety jamming space rock band. If looking for something different in the space rock field, give this one a shot.

Ownership: 2007 Dead Earnest (CD). Acquired in 2011.

3/13/11; 5/11/18 (review)

Tri-Angle Waves (2009)

Secret Saucer are an Ohio based group (not far from Cleveland), who've been around more or less for about ten years or so. Tri-Angle Waves is their 3rd album. There's little here you haven't heard before, but a good space rock jam is still exciting to hear, that moment when it all comes together, and the fiery guitar solo sends you over the edge. All the genre's norms are on display here: Swooshing synthesizers, blazing guitars with as many effects applied as possible, constant heavy bass and drums - and with very little attention paid to meter shifting or dynamics... or melody. With Secret Saucer, you're getting exactly what you came for. When you go to In-N-Out Burger, you want a good cheeseburger, not foie gras. And Secret Saucer serves up a mean cheeseburger.

Former ownership: 2009 Salad Farm Studio (CD). Acquired in 2011. Downsized in 2022.

2/8/11 (review); 7/27/22 (update)

Secret Saucer went on to release four more studio albums. I certainly would be up for hearing any and all at some point. Four on the Floor seems to be the consensus favorite to date.

2/8/11 (new entry)

Syzygy ~ USA ~ Cleveland, Ohio

The Allegory of Light (2003)

When you name your band Syzygy, you are already making the declaration that you really don't care if anyone knows who you are, or if they can even remember your name. Almost impossible to spell on recall, I've got it on ctrl-v throughout this listen. Syzygy was born out of Witsend, a Cleveland, Ohio based band who released a charming demo-like album back in 1993 called Cosmos and Chaos (that I since sold). Ten years later, and a legal ruling demanding they change their name, Syzygy debuts with The Allegory of Light. 

Considerably more professional than their first effort, the album screams the region they are from. Hello Midwest! As I've documented endlessly, the mid to late 1970s saw hundreds of bands from the area coming out of the garage closet, and make a go at the major UK progressive rock bands we all knew over here via FM radio: Yes, Genesis, ELP, and Gentle Giant prominent among them. Kansas being the grand local champion of the era, it is only natural that a modern band would mix in all of the above. Then add in other influences that showed up in the 90s like Dream Theater, Porcupine Tree, Marillion, and the rest of them. In the 2000s, it seemed a determination by many a musician that they could out-prog the most proggy among them. 

What separates Syzygy from the pack is their fine use of counterpoint, as well as attention to the song. Melody does matter, as it turns out. These latter qualities are what made 70s prog so endearing, especially the American version. The more amateur, the better. Well these guys are pro, but the music is highly listenable, and one doesn't sense we are being condescended to as mere fans. And fortunately they left the metal component at the door. There were plenty of groups on that bus already.

Syzygy are a microgenre entity. If you like the Midwest prog sound as much as I do, then this album is going to resonate more to you than others who don't have this sound burned into their DNA (yet). Otherwise, it may come across as a bit too complex. 

Ownership: 2003 private (CD). Poster booklet with lyrics and recording details. Acquired in 2009.

2009; 9/1/25 (review)

Also own: Realms of Eternity

9/1/25 (new entry)

St. Elmo's Fire ~ USA ~ Cleveland, Ohio ~ Iowa

Artifacts of Passion (2001)

Four months ago, for Groovector's Ultramarine, I wrote: ""I have quite a few albums in the collection that I'm most excited to hear - many of them I anticipate are better than I have them rated. This is yet another album I haven't heard since it first came out. So 22 years later we have our second visit." - Part 2. In fact I think this was in the exact same CD order with the Hamadryad album that makes up the above quote."

Make that Part 3. For whatever reason there's a part of my collection from 2001 I never revisited. Artifacts of Passion represents a reunion effort, as it were, with mostly reworked versions of older compositions going back to the late 70s and early 80s. A couple of these made the Live at Cleveland Agora EP, but even those tracks are much different here. Though a modern recording in 2001, one could almost view this as an archival release. The sounds are pure analog, and it's as if the prior 20 years didn't happen. Plenty of mellotron and violin to offset the usual rock based instrumentation. Their music is very much a product of the American Midwest and overtures to King Crimson, Genesis, and Yes are apparent. The album is mostly instrumental with the exception of 'The Nemo Syndrome'. Artifacts of Passion is one of those albums that slipped through the cracks of time, but is a fine representation of the type of American progressive rock that existed in the late 70s.

Ownership: 2001 Sprawling Productions (CD). Booklet with recording details and historical references. My copy came with two postcards, one signed by band leader Paul Kollar.

2001; 3/12/24 (review)

Live at the Cleveland Agora / Splitting Ions in the Ether (1980 / 1998)

Live at the Cleveland Agora is St. Elmo's debut album from this fine progressive rock band from the namesake city. It would be their only album during their original tenure. Released privately, it was a four song instrumental EP that demonstrated a band with immense talent, captured live. Because of this, the sound quality isn't the best, and you get the feeling the band still needed a bit more time to work out the compositions. Since it's instrumental - but not a jam record - then melody and structure will need to carry the load. There are times here when one expects a vocal passage, or perhaps another theme break. It doesn't help that the tracks are fairly longish. Musically it's influenced by the usual UK suspects, just as every other progressive rock band from the Midwest were. St. Elmo's Fire incorporated a bit more King Crimson than usual, and one can also trace a bit of late 70s Rush in the grooves. Overall, Live at the Cleveland Agora is a fine EP, and worth seeking out on its own.

The band were to reform some 18 years later in Iowa (at least administratively), and rather than reissue the EP alone, they added the full concert plus three more tracks taken from two other shows in 1980. They also rechristened the album Splitting Ions in the Ether and added new artwork. The nice tracks on display here are similar to the EP, but elongated even further since the two tracks left off were also the lengthiest. The odd thing about these two is they sound better than the four tracks from the EP, which have remained somewhat distorted even into the digital age. The other three songs are musically similar and 'Gone to Ground in the Khyber Pass' (left off from the EP) might be their best composition on here. Definitely the CD is the way to go if looking for ownership.

Ownership: 1980 Corposant (LP); 1998 Sprawling Productions (CD)

1992 (acquired); 1998; 2//09; 9/18/17 (review)

9/18/17 (new entry)

The Damnation of Adam Blessing / Glory ~ USA ~ Cleveland, Ohio

Glory (1973)

Post Damnation of Adam Blessing. Here they bring in some of that same era Grand Funk Railroad sound. Good times party rock for the most part. Highlights include the thoughtful A4, the funky B2, and the two proggy closers B3 & B4. The album ends on a high note with a different approach than the rest. A good album that clearly could have been miles better. It was to be Glory's only album. A lost opportunity.

12/21/23 (review)
 

The Damnation of Adam Blessing (1970)

The Damnation of Adam Blessing were one of the powerhouse groups coming out of the Cleveland scene in the late 60s. There were a ton of groups operating in steel country back then, but most didn't get past the 45 single stage. Though unfortunately today, the band is hardly known. Which is really too bad considering the strength of the material found on their debut. Highlights include the first three tracks, 'Strings and Things', and the last three songs. In particular 'Dreams' is stellar. Only the boogie 'You Don't Love Me' and the unnecessary 'Last Train to Clarksville' (Monkees of course) can be avoided.

There aren't a ton of albums going from psychedelic to hard rock, and The Damnation of Adam Blessing is a super example of doing just that.

Ownership: 1970 United Artists (LP) 

8/26/22 (review)

8/26/22 (new entry)

Archetype ~ USA ~ Cleveland, Ohio

Dawning (2002)

One of my personal axioms is that I rarely enjoy bands that look like guys I work with. lol. There's always the exception that proves the rule. Dawning is a highly rated prog / power metal band. I've read comparisons that Cleveland's Archetype sits between Iced Earth and Fates Warning. Honestly I don't hear too much Fates Warning. Iced Earth, yes for sure. Maybe Iced Earth meets Budgie? The album gets stronger - and weirder - as it goes. It's just a little off from the "metal standard", which is where the allure lies. It's proggy, it's techy, and it's most certainly metaly. I have to admit to having an affinity for private pressings from the Midwest. So this checks a lot of boxes and it's the kind of album where the relistenability factor appears to be very high.

Ownership: 2002 private (CD). Acquired in 2016. 

8/3/23 (review)

8/3/23 (new entry)

Granicus ~ USA ~ Cleveland, Ohio

---4/15/11

Granicus were a Cleveland based hard rock group. Probably the single best example from the US to attempt a Led Zeppelin like raucous electric blues sound. Has a Midwest America sensibility and directness as found in other bands from the region (Poobah for example), but otherwise Page and company is definitely the influence here. Mellotron and acoustic guitar touches combined with Robert Plant styled high pitched vocals puts this album somewhere between Zeppelin's IV and Houses of the Holy. This is essential for hard rock fans, especially those who like a little adventurous progressive compositions mixed in.

---10/13/22

Yea, I'll stand by that. In fact I enjoyed a +1 revisit last night. Like with progressive rock, the US didn't do too much to support our hard rock scene either. Every once in a while a band would pop up and receive a major label signing, only to not be promoted and dropped shortly thereafter. Most bands like Granicus just thrived in the underground and released their albums privately. Really great hard guitar and screaming vocals - it's the boilerplate for the Midwest hard rock sound.

Ownership: 1973 RCA (LP) 

4/15/11 (review); 10/13/22 (update / new entry)

Dragonwyck ~ USA ~ Cleveland, Ohio

Fire Climbs (1970)

Tremendous heavy psych from Cleveland circa 1970. The influence of the Doors looms large here, mostly because of the vocal tenor, but far more heavy and psychedelic than that may imply on first blush. One could also see this album as a precursor to the Phantom Divine's Comedy album that was to be released four years later. They too (Walpurgis) were a Midwest band operating in a similar hazy and mysterious hard rocking psych territory. Essential listening for those who enjoy that unique sounding crossover from 60s psych to 70s hard rock.

Ownership: 1992 Rockadelic (LP). My copy is #308. Acquired in 1992.

1992; 11/26/16 (review)

Chapter 2 (1973)

---10/14/06

Dragonwyck, at their peak in the early 70s, were once considered Cleveland’s rising rock stars, having earned a weekly spot at one well known local club for two years straight. Their 1970 debut, in reality only a demo recording in hopes of landing a label deal, and pressed only in a quantity of 85, was a hard psych affair similar to the 1967 Doors sound. Three years on, with many more shows under the belt and a whole new keyboard play-kit including organ and mellotron, demonstrated the band’s professional progression and a move towards more complex compositions. Still, in keeping with their three years behind the times modus operandi, Dragonwyck had only progressed to the Moody Blues circa 1970. That is, a psych influenced progressive sound, with plenty of vocal harmonies and large scale orchestrations (as emulated by the new expansive keyboard setup). The guitar, however, is more aggressive than anything the Blues ever did. Included were re-recordings of two tracks from the debut, still sounding oddly like the Doors and out of place with the newer material. Despite a fully produced recording, the album was never formally released (excepting bootlegs) until 2006. After the Chapter 2 recordings, the band began to move towards more commercial songwriting, which is reflected on the two 1974 tracks from a 45 single (that are bonus tracks on the World in Sound reissue CD). Interestingly enough, their sound at this point represented what most “Midwest Progressive” bands were to sound like – Starcastle, Ethos, and Albatross for example. In the end, a very much recommended purchase for psych and prog heads, with the caveat that the album was dated even in its own time.

Ownership: 2006 World in Sound (CD). Triple fold out digipak with liner notes and photos. Acquired in 2006.

10/14/06 (review); 2/4/10; 9/8/23

2/4/10 (new entry)

Pi Corp ~ USA ~ Cleveland, Ohio

Lost in the Cosmic Void (1973-76 / 2001)

Archival recordings uncovered by Rockadelic, encompassing the dates from 1973 to 1976, and certainly one of the label's more progressive oriented releases. Pi Corp were a space rock band from Cleveland, Ohio and contains plenty of that ancient Vox Continental organ. Honestly these recordings seem like raw rehearsals that have been heavily affected by studio trickery. The latter element most likely added (or enhanced) many years later, perhaps for this LP release specifically. Interesting album, though not necessarily compelling.

Former ownership: 2001 Rockadelic (LP) 

2001 (first listen); 8/9/16 (new entry)

Tomsix ~ USA ~ Cleveland, Ohio

Soundbones (1974-1979 / 1994)

When I created the Midwest Progressive Rock list for RYM, one of my secret hopes was that I would receive recommendations for something similar. I knew I would get suggestions of albums that were on the fringe - or worse just anything that was from the Midwest (and I did of course). But if someone could offer a complete bullseye for the style - a band or album I'd never heard of - well, then, my list would be a complete success. The very first suggestion came in from Tony Coulter, and it was Tomsix. An absolute diamond in the rough if there ever was one. An album that's been out almost 20 years and still a complete unknown. I received a great many suggestions afterward - primarily from Tony and our good friend Mark MoeCurly - but Cleveland based Tomsix was the pick of the litter for certain.

Not surprisingly, the earlier you go in the timeline, the more progressive the music becomes. The 1974-75 period is when the band was known as Tarsier (which is arguably a much cooler name than Tomsix, which incidentally was named for the Tomsick trio of brothers that run the band). This era of material is heavily influenced by Yes (a common occurrence in Midwest America) with a smattering of Gentle Giant - and there's gobs of mellotron for fellow fans of the instrument. Starting in 1976, the band switched names to Missing Persons (no relation to Mr. & Ms. Bozzio we presume), and directed their sound even more to the counterpoint rhythms and harmonies commonly found in Gentle Giant. The music is tight, slightly commercial, but still very complex. The absolute definition of the Midwest American progressive sound. Though the liner notes aren't clear about this, it appears the band then went with Tomsix starting in 1978. Not surprisingly, this era of the band finds them at their most commercial, with even a slight funk / disco sound creeping in. I would say at this point, the band sounds most like Supertramp, but more progressive than that may imply. Tomsix never did properly record an album (such a shame too, as the quality of the sound on this compilation is very good). The material is not presented strictly from a chronological perspective, though the progressive tracks are front loaded (demonstrating to me at least, that's where the heart of the band lies).

Ownership: 1995 Behemoth (CD). Lyric booklet with a short history.

9/1/13 (first listen); 6/25/14 (review); 4/3/25 (update)

Atlantis Philharmonic ~ USA ~ Cleveland, Ohio

Atlantis Philharmonic (1974)

Atlantis Philharmonic is a duo formed in the Cleveland area. Despite the small lineup, it sounds like a much larger ensemble with a full array of keyboards (primarily organ), guitar, bass, drums, and quite a bit of percussion. The album contains a mix of instrumental and vocal work, and even veers towards the commercial in a couple of places. In this way, Atlantis Philharmonic is clearly a product of the Midwest progressive rock scene. It's heritage is obvious on repeated listens. A long time favorite of mine.

Ownership: 

1974 Dharma (LP). Acquired in 2014.

1990 Laser's Edge (CD). Acquired in 1991.

1991; 1998; 2/8/10 (review / new entry)