Trayn ~ USA ~ Jacksonville, Florida

Hits Hot (1980)

Found this recently at a local vintage shop in their $2 bin. Saw it carried some value, and it had the look, so I'm grabbing it fast.

While listening to Hits Hot, I was reminded of another obscure band from the exact same year: The Franklin Street Arterial. While there is no guitar, it was the analog synthesizers that made me think of them, especially on the opening track. Wonderful melodic sax and flute as well. This is old school funky fusion, far removed from the slick gloss of smooth jazz. Keyboardist also throws into the mix some organ and Clavinet. It's a tad too friendly and crowd pleasing to be an underground classic. I'm afraid I'm going to have to let this title go, though it was very close to making the cut. 

Since it fits the CDRWL model, I'm creating a separate post, rather than adding it to a journal entry.

Never been reissued in any format.

1980 Homestead (LP)

10/26/26 (review / new entry)

Savatage ~ USA ~ Tampa, Florida

Poets and Madmen (2001)

I wasn't planning to revisit the Savatage catalog so quick but the random number generator thought differently. As noted on Hall of the Mountain King, I have almost no history or recollection of Savatage's material outside of the 1980s. At this stage of their career, they're all in for storybook albums, and what is loosely called rock opera. Or metal opera. None of which appeals to me really, as lyrics have never driven my appreciation level all that much. And classical styled chorus' are also not something I cherish to listen to. As for the music, I'm pleasantly surprised by the fat and creative riffs, a hallmark of the Savatage sound. Piano and synthesizer add-ons are much welcomed too. Jon Oliva doesn't sound quite the same here, though age I'm sure has something to do with this. 

As I catch up on Savatage's history, it's interesting to read that band leader Jon Oliva says that Savatage without brother Criss (who died tragically in 1993) doesn't really sound like the band. I know what he means, though I'm not sure even the early 90s material have resonated with me either. They're not bad at all, just they fall out of my interest area. Seems Savatage will always be a band of the 80s for me, more specifically a band that existed solely in my college years (1983-1987). Even though I bought a sealed modern LP reissue of Edge of Thorns, I may sell it and eventually grab a cheap CD for a revisit if I see it. I owned it before on CD, and moved it out. I doubt my viewpoint has changed that much in the last decade honestly.

Poets and Madmen was to be the end of the line for Savatage. However it appears the story isn't going to end just yet, as they are working on a new album called Curtain Call, to be released this year (2026). Of course Savatage have gone through various fits and starts in the last 25 years, so who knows? Perhaps this will be their Coroner moment.

Former ownership: 2001 Steamhammer (CD). Box set with sticker and poster. Booklet lays out the story, and includes lyrics plus a photograph of a pretty lady associated with the story. Acquired in 2017.

4/7/17 (first listen); 1/5/26 (review)
 

Hall of the Mountain King (1987)

I stayed loyal to Savatage despite their last effort being the dreadful Fight for the Rock. And I was also losing enthusiasm surrounding Power of the Night, since reconciled as noted below. The reviews of the era stated emphatically that Hall of the Mountain King was a strong return to form. So I plunked down what few remaining dollars I had left by my last semester in college (the defense contractor intern money from 85-86 was gone by then). I'm pretty sure this was the last LP I bought before graduating. A good way to exit. Indeed, Savatage was back. Crunchy guitars, shrieking vocals, and the heavy bottom end are all in full force. And the band began to embrace the progressive, something they seemed reluctant to do, though they'd circled the concept early in their career. The songwriting is strong here as well.

Hall of the Mountain King arguably saved them from disintegration, and opened a lot of doors for the future. Today it is considered their masterwork, though I remain loyal to their initial couple of releases, given the time and place context. 

Nonetheless I stopped here with Savatage, and didn't check out any of their later albums until the last ten years or so. None have really wowed me, though revisits are in order.

Ownership: 1987 Atlantic (LP). Acquired in 1987.

10//87 (first listen); 7/20/13; 12/16/25 (review)

Sirens (1983)

I've mentioned Sirens on plenty of posts in the past but have never featured or written anything about it directly. I purchased this on the same fateful January 1984 day that I acquired Manilla Road's Crystal Logic while still on winter break from college. Neither album had much initial impact on me. They were both slow growers. Today I consider Manilla Road's album close to the top tier, whereas Sirens remains merely excellent to my ears. Primarily that's because there isn't any one track that makes you sit up and proclaim "did you hear that?" That is to say, there is no 'Dreams of Eschaton' here. But what Sirens did bring was a superbly crafted traditional heavy metal album. Fantastic bass heavy production with crunchy guitars and Jon Oliva's unique snarling and yelping vocals. Not a dud track among the nine songs on display. Though the band were to later incorporate progressive rock and opera themes, I prefer this earlier incarnation of the group. I think they were to peak on The Dungeons are Calling EP before experimenting with more commercial music and then onto the aforementioned progressive rock ideas of Hall of the Mountain King. Sirens is slower and heavier than the bands it's often compared to such as late 70s Judas Priest, same era Iron Maiden, and early Queensryche. It fills a unique space inside of an obvious context.

Ownership: 

1983 Par (LP). "Legal rights" on the label version. Acquired in 1984.

2002 Metal Blade (CD). Silver anniversary edition. Liner notes written by former drummer Steve Wacholz. Features three relevant bonus tracks likely taken from the same era (though not documented). Acquired in 2013.

1//84 (first listen); 1/21/13; 9/28/19; 9/21/23 (review)

Power of the Night (1985)

I bought this when it first came out, but by the 90s I had become tired of this kind of traditional metal sound. Though fortunately the first two Savatage albums (including the EP) still resonated and have continued to become legend in my mind (as noted here). Both are treasured parts of the collection. In retrospect I can see my initial dissatisfaction with Power of the Night, as the album is more straightforward and it wheezes out at the end. But I love the way Savatage brings those big riffs and Jon Oliva yelps his lines. And that heavy bottom rhythm. Keeper for now.

Ownership: 1985 Atlantic (LP). Acquired in 2023.

6//85 (first listen); 7/15/23 (review)

The Dungeons Are Calling (1985)

The Dungeons are Calling is Savatage's second effort, and is a blistering set of six traditional metal tunes. Easily Savatage's heaviest album, I would have to disagree this constitutes nothing more than leftovers. There are three absolute monster tracks here: 'City Beneath the Surface' sounds like Sabbath's Sabotage album taken to the 3rd power. The title track and 'By the Grace of the Witch' are crushingly heavy, but also melodic and memorable. Jon Oliva is really belting them out here with the best of them. And brother Criss' guitar sound is exactly it. Even the weaker tracks are no slouches. 'Visions' sounds like many a Mausoleum type European rumbler, while 'The Whip' could have been lifted straight from Judas Priest's Defenders of the Faith session.

Ownership: 

1984 Combat (EP). Acquired in 1985.

2002 Metal Blade (CD). Silver Anniversary with bonus tracks. Acquired in 2004.

3//85 (first listen); 12//04; 2/2/16 (review)

Once owned the following: Fight for the Rock; Streets; Dead Winter Dead; Edge of Thorns

12/4/16 (new entry)

The Allman Brothers Band (& related) ~ USA ~ Jacksonville, Florida

The Allman Brothers Band (1969)

The Allman Brothers' debut is mostly a blues rock album with snippets of the jazz rock they would incorporate further, especially on their live recordings. For my tastes, it's this unique combination where they excel the most. The Southern rock scene is loaded with bands conjuring up their blues roots, and many also included country. But jazz? Not so much. The opener and closer are the highlights here, especially 'Whipping Post' which is arguably their signature song. At least with Duane at the helm. 'Dreams' is a nice laid back piece. In reflection, I'm not sure their debut is a necessary part of my collection (at least on LP), though no doubt still enjoyable. Songwriting and the studio do not play to their strengths. Their live recordings though, oh yea. I'll be reviewing them eventually.

Former ownership: 1978 Capricorn (LP). Gatefold. Acquired in 2023. Downsized in 2026.

4/23/16; 1/5/26 (review)

Duane Allman - An Anthology (1972)

This is a very nice package with a large booklet dedicated to the memory of Duane Allman, who had passed away in a motorcycle crash only a few months prior. It's a unique compilation in that it features Allman playing on other artist's releases - not just his own. In reality, this could have been called A Blues Anthology, as the majority of the songs (including The Allman Brothers) are in that vein. Obviously that was Allman's comfort zone as well. As such, it veers away from my own interest in Allman's work. But I'm glad I had a chance to check it out.

Source: 1972 Capricorn (2xLP)

7/9/21 (review)

Duane & Greg Allman - Allman (1968 / 1972) 

Though released in 1972, this album is an archival release from 1968. At that point, labels were digging through the warehouse looking for any snippets of sound associated with the recently deceased Duane Allman. Side 1 went on. I looked up and it was over. Flipped - side 2. It's over. Short album and nothing particularly interesting for me.

Source: 1972 Bold (LP)

8/19/21 (review)

Also own: At Fillmore East; Eat a Peach

1/5/26 (new entry)

Nasty Savage ~ USA ~ Tampa, Florida

Indulgence (1987)

I remember Nasty Savage from my college days, but never checked them out. My loss as this is my kind of metal. Mostly it's off-kilter thrash, with riff after riff coming at you from all angles. "Nasty" Ronnie is your front man, and he's quite the character it would seem. A complete showman, part time wrestler, and part time King Diamond imitator apparently. When he's not squealing, he's singing in an aggressive manner typical of the metal acts of the day. Regardless of his stage antics, it's the music that carries the day here. It doesn't really fit any kind of genre norm, which only makes it more endearing to me. Way more thoughtful than you might initially think. I would have loved this had I picked it up real time. Alrighty, 38 years later, it's in the collection.

Ownership: 1987 Metal Blade (LP)

12/25/24 (review)

1/25/25 (new entry)

Iced Earth ~ USA ~ Tampa, Florida

Night of the Stormrider (1991)

---3/29/01

For a brief period in the early to mid 1990's, a music movement known as "progressive thrash" thrived in the underground clubs and magazines of the day. Take two parts Metallica riffing, one part Iron Maiden song craft and one part Fates Warning style invention and you have an idea what the sound entails. One of the best at this style were Florida's own Iced Earth... By their second album, Night of the Stormrider, Iced Earth had honed their craft. Each song contains speedy riff after riff and plenty of metronomic activity to challenge the discerning listener. The vocals are clean but deep and heavy.

---1/24/24

It seems every time I hear this album, I give it a +1. I'm almost at the very top now. Everything about this album is perfect - from the atmosphere, to the riffing, the production, onto the compositions, even the much maligned vocals. And it's not even their best album! That goes to its successor Burnt Offerings. The album is super from the first note to the last. Love the cover too.

Best I can tell, this album didn't come out in the States until the following year. The first pressings were released in Germany and Europe. They were still pressing LP's in Germany, and this did get a vinyl release. They used a different cover, and I definitely prefer the US version.

Ownership: 1992 Century Media (CD). Lyric booklet. Acquired in 1994.

1994; 3/29/01 (review); 12//04; 4/1/16; 11/3/17; 1/23/24 (update)

The Glorious Burden (2004)

The kings of the triplet riff. This title is their homage to world history, especially the American Civil War. Unfortunately it doesn't translate to anything more than a typical Iced Earth album. I adore the first three albums by them, and then it's case by case. I have a couple more later ones I'm sure to keep, but probably the rest will be released. I have a lot of their titles, and have already sold a few off. Here's one more.

2004 SPV (CD). Acquired in 2007.

7/12/07; 6/17/16; 11/28/23 (review)

Enter the Realm (1989)

Enter the Realm is Iced Earth's debut EP demo cassette, originally recorded in January 1988 but not released until a full year later. Vocalist Gene Adams has been called out as a "no talent" by band leader Jon Schaffer himself, but I personally appreciate his "real people" approach that very much fits in with the aesthetic of the late 1980s. Had Iced Earth not hit the big time, no one would have noticed anyway, and this recording would be a cult classic sought after by many. Most of this album found its way onto the debut full album, in slightly revised form. 'Enter the Realm' and 'Nightmares' did not reappear until the Matthew Barlow re-recordings on Days of Purgatory. Overall this EP is a really fine early prog / thrash / power metal album.

Ownership: 2008 Century Media (2xCD). Papersleeve. Contains Enter The Realm of the Gods and Tribute to the Gods. Acquired in 2016.

6/14/16 (review)

Also own: Iced Earth (1991); Burnt Offerings; Horror Show; Dystopia; Alive in Athens

Previously owned: The Dark Saga; Days of Purgatory; Something Wicked This Way Comes; Framing Armageddon; The Crucible of Man; Plagues of Babylon; Festival of the Wicked; Live in Ancient Kourian

6/14/16 (new entry)

Ron Goedert - Breaking All the Rules. 1980 USA-Florida

Ron(n) Goedert's only solo album is completely out of time. In looking at the album cover, one would presume it's from 1974. And musically you might expect glam rock - New York Dolls, Bowie, etc... And who is Ron Goedert anyway? Not exactly a household name. Well... he was the lead singer for White Witch, a relatively obscure band that had a reasonably good two album run. And White Witch is your best clue as to what you're going to hear. Except far more focused and streamlined.

To my ears, Breaking All the Rules sounds a lot like Diamond Reo's Dirty Diamonds album. Same kind of glammy background, but nothing of the sort. Just pure kickass hard rock. And the guitar tone Jerry Runyan gets is absolutely delicious. Not every one of the 11 tracks here is a winner, but most of them are. Final track 'Squidd' is the highlight for me. Goedert for his part sounds quite histrionic - recalling some of the Italian prog bands, but also predicting the heavy metal norm. I appreciate the uniqueness. For whatever reason this major label album is pretty much unknown - even among deep diving hard rock collectors. The few reviews I found talked about its New Wave elements. I have no idea where that comes from. There's absolutely nothing 80s about this album. There's not a modern synthesizer to be heard. The keyboards of choice are Hammond organ, Hohner Clavinet, and Moog. Those tools just scream 80s synth-pop don't they? Breaking All the Rules is down in the gutter, greasy hard rock. Just as the cover suggests. For my tastes, a superb and surprising find.

Ownership: LP: 1980 Polydor. Single sleeve. Recently found at an estate sale for $1. I seriously doubt many copies sold, though there are 4 pressings (just realized mine is not in Discogs - pressing plant 26 - so the photos you see here come from this copy as I needed to add the entry). It's not terribly expensive, but it's not one you usually see out in the wilds either. Check your local record store though. It's the kind if album that has slipped through the cracks. They'll probably have it priced at $5 or less, because they have no idea what it is. The album just received its first reissue from the French label Bad Reputation, so maybe its time has just arrived.

8/29/22 (new entry)

Blackkout - Ignorance of Man. 1989 USA-Florida

And the hits keep on coming. It continues to baffle me just how many creative American metal bands were in existence from the late 80 through to the early 90s. I was still paying attention real time for acts such as this, though I wasn't really focused on the cassette culture. And I should have been, because that's how many of these albums were released in the first place. And many used the full length, allowing them to release that much more music than an LP, or a cheaper alternative to the still-too-expensive new medium called CDs. Thank goodness for the reissue label - or in many cases - the archival labels. Many of these labels aren't even here in the States, but in Europe, especially Germany, Greece, and Italy.

As noted, the cassette tape afforded bands a chance to release a lot of music. And that certainly was the case with Ignorance of Man, where there are a whopping 17 tracks here, including a 10 minute epic closer. From what I understand, but is poorly documented, this tape itself was a compilation of the band's recorded (or written) music throughout the 1980s. While it certainly all belongs to thrash metal, there are variations in both sound and structure, that indicates the band had flourishes of progressive mindedness along with more traditional approaches. Fortunately, most of the material on Ignorance of Man is fascinating, and well worth hearing. There are a few tracks where galloping guitars and gang vocals define the music. These are pretty ordinary, and would have been for the 80s as well. But the majority have passages that we used to call technical metal. And the kicker is the instrumentation. Even though Blackkout are only a 3 piece (with dubbed guitars to make it sound like a quartet), the leader of the group brings along not only a flute, but also an electric violin! The former immediately draws comparisons to one of progressive thrash's greatest groups in Psychotic Waltz. Electric violin on top of that? That's highly unique. While I wouldn't say these instruments are predominant in any way, they do add flourish to many of the tracks. As noted, the album closes with a 10 minute epic, which is one for the ages. 'The Talisman' goes through all sorts of twists and turns, similar in some ways to Manilla Road, but more thrash oriented. All in all, a must for fans of late 80s adventurous metal.

Blackkout were from America's richest metal talent area of Tampa / St. Pete, though they weren't part of the death metal wave that the region became most famous for.  The CD also (remarkably) includes their 1985 single, which is similar in construct to the album proper.

Ownership: CD: 2010 Arkeyn Steel (Greece). Recent online acquisition. Numbered edition (mine is #584) jewel case with a full booklet containing recording details (though no specific dates), photos, and lyrics. Excellent in every way, except it's missing a history, which I think would have helped provide context.

As Is. 2000 USA-Florida

As Is (a name that is impossible to research) were a band from the Orlando area who released this one album before calling it a day. The album was sold to me as such (paraphrasing) "1976 archival prog metal from Tin House". I couldn't find it in either Discogs or RYM, so I pulled the trigger. Just as I enjoy finding unknown vinyl, I also love digging for unknown CDs. That was the original premise of the Under the Radar CDs blog over 10 years ago, before I repurposed it.

10 seconds into this, and I knew it wasn't from 1976. This is no analog recording and those synth patches scream the 90s. Which would explain the lack of any kind of history in the liner notes. In fact, the entire sales pitch was misleading. Do I think the seller purposely misled me? Nope, not at all. The 1976 part can only be considered some sort of miscommunication or misremembrance. Is it prog? No. Is it metal? No. Is it related to Tin House? Sort of - but not the 1971 version of the band. Tin House had a reunion and released their own obscure follow up in 2009. The guitarist for the resuscitated Tin House was a one David Mikeal, and he was the leader of As Is. And that's who the seller obtained this directly from. As for the musical style indicators, that can be chalked up to the seller's own background. For years, I watched psychedelic sellers refer to anything with a keyboard as progressive rock. And likewise, anything that has a slightly fuzzy guitar tone gets labeled as metal.

So what is As Is (so to speak)? Hard rock with AOR aspirations. They were part of the AOR revival scene that was active back in 2000 (and I'm sure still exists in some form or another). They were bringing back 1980 era FM radio. Melody and choruses, with hard rocking guitars and some extended ideas. For what they set out to accomplish, it's quite good. Mikeal does lay out some good licks and solos, and the remainder of the band fills in quite nicely. Most are singers too, so vocals play a key role, but do not dominate. This is not a field I have much experience with (retro hard rock/AOR?), so I'm lacking in comparisons. It really doesn't sound like a band from 1980 because of the modern instrumentation, but musically it could be tied to any number of groups like Saga, Toto, Styx, Blue Oyster Cult, etc... So while I was disappointed the album didn't match the intended premise, I'm certainly pleased to own this. Probably wouldn't have sought it out on its own, nor am I clamoring for more of it, but there's a place here in the collection for As Is.

Ownership: CD: 2000 private. Recent online acquisition. Jewel case with booklet containing lyrics and recording details. Very homemade looking. The photos on the back of the booklet do like they are from the 70s, so that could be where the seller got the idea. But its intention is probably more scrapbook related.

Timmy Thomas - Why Can't We Live Together. 1972 USA-Florida

Now this has to be the damnedest album I've picked up in some time. Marvin Gaye... brings along Jimmy Smith on organ... with a drum machine... and plays the music of Sade... in 1972. And that's just the first track. Talk about an album that you have to keep listening to. Twilight Zone stuff here.

Ownership: LP: 1972 Glades. Gotta love thrift shops. This one came from one in Wyoming. Yea.

Imagine - Images, Clear Skies and Rainbows. 1980 USA-Florida

The first two tracks are well done - though not head turning - hard rockers. 'Rock & Roll Man' is the requisite boogie song, and is the low mark of the album. At this point, not much to recommend. Starting with 'Superstar', the album gets exponentially better. This track has a classic Santana vibe. Side 2 clearly moves towards progressive rock, with plenty of changes, synthesizers, flute, and creative ideas. It's these last five songs that makes this LP a keeper.

Ownership: LP: 1980 Light Horse. Recent online acquisition (2020). My copy came with a promo sticker as well, not sure if that was standard or not (Discogs doesn't mention it). The original also uses the well worn "generic rainbow" cover, which is just charming by this point.

4/20/20 (new entry)

Maelstrom ~ USA ~ Florida

Maelstrom (1973)

Maelstrom were a band originally from Florida (and later Indiana) who mixed in Canterbury type sounds with more traditional prog rock. At times they were brilliant, and others a bit more meandering. This latter element would show up more for their next album, which was closer to free jazz, and is a difficult listen.

I have confirmed with the owner of Black Moon that 1973 originals really do exist. There's less than five known copies. Highly likely it was just a test press, perhaps to send out to record companies. As of 10/11/25, the original is not in Discogs.

Ownership: 1997 Black Moon (CD). Booklet with full credits, live bonus tracks, and original artwork (what is shown here). 

5//97 (acquired); 10/30/15; 4/5/20 (review / new entry)

Momentum ~ USA ~ Florida

Scintillation (1983)

Scintillation is the second instrumental album from Sarasota, Florida based Momentum, and is, in my estimation, a pleasant surprise given the late date. On first blush, the keyboards have that early 80s New Wave sound, and sounds somewhat typical of the era. But then suddenly out of nowhere thrusts this excellent guitar fronted jazz rock. A type of fusion with loud, almost psychedelic guitar leads - very much at odds with most recordings from 1983. The title track could almost be considered hard rock given its intensity. There's also one beautiful flute driven piece ('Breakfast in the Afternoon'). Synthesizers go wild on 'The Spirited Lady', a track that sounds like it had been lifted off Al Di Meola's Elegant Gypsy. Sure, there's a couple of funky sax laden tracks to sit through ('Add it Up', 'Goosby Strut'), but both contain fine melodies and blazin' guitar midsections to offset the trendiness (well no guitar madness on 'Goosby Strut' actually, and it does sound like a bar crowd pleaser). 1983 is not typically a year one seeks out fiery fusion, but Momentum provides the counter argument.

Ownership: 1983 J.B.C. (LP) 

7/23/10 (review); 7/3/18 (update)

Introducing Brad Carlton (1980)

CDRWL review

Neither have been reissued as of 2/22/25.

7/3/18 (new entry)

UHF ~ USA ~ Miami, Florida

Timeless Voyager (1981)

There's an obscure Chicago band called The Seiche (that recently has been reissued). When listening to UHF, I was reminded of The Seiche. At its core, both bands are heavily influenced by late 70s Rush, minus the epic aspirations. More of a streamlined approach, similar to how Rush would emerge themselves, but with a rawer edge that is to be expected on a private production. But Miami, Florida based UHF take it one step further by adding a bit of a metal component. There's a certain riffing style that identifies it as such, though it doesn't fit comfortably into what is generally known as heavy metal - even for the early date. In fact, it wouldn't be a reach to compare UHF to Manilla Road at this 1981 stage (again, minus the more grandiose compositions and themes). And it's not just hard rock and metal, but a very strong progressive component can be found, with unusual meter breaks, and well placed keyboards. 

Ownership: 1981 Rofer (LP)

No reissues exist as of 2/22/25.

7/29/10 (review); 5/11/17 (new entry)

Gold ~ USA ~ Florida

No Class What So Ever (1980)

Gold were a southern Florida band and I found this album to be a very appealing piece of instrumental music. I love the guitar work, both in the psychedelic tone, and with his melodic style. No shredding here - this is the emotional style that Santana or even Frank Marino (think 'Poppy') can get when they focus on their instrumental side. The compositions are tight, and they pack a lot of ideas within relatively short time frames. It's sophisticated but not complicated. And while it ostensibly comes from a jazz fusion angle, I'd say it's more in the instrumental progressive rock camp. There is no doubt that this album will improve with multiple listens, as it possesses an uncommon depth. This one really came out of nowhere, and I don't think it's on the collector radar yet.

Ownership: 1980 Alpha (LP). Acquired in 2017.

9/30/13 (review); 2/18/17 (update); 11/10/25

Night Ride (1979)

CDRWL review

2/18/17 (new entry)

Flight ~ USA ~ Florida

Flight (1975)

Flight were a Florida based progressive rock/fusion band with mellotron, Moog, guitar, trumpet, and quite a bit of kinetic energy. This is one of the most confused releases from a most confused time in American history (think Gerald Ford and hyper inflation). The album opens up as if Starcastle had decided to sound like Yezda Urfa instead of you-know-who. But then there's trumpet. Trumpet? OK, then. This leads to 'Make a Miracle' which is more like Earth, Wind, and Fire. "Baa-bay, I need you...baa-bay" It's actually quite accomplished for the style. Then how about some fusion runs similar to Mingo Lewis' Flight Never Ending? And so it goes, yo-yo-ing back and forth from insane prog to complicated fusion to radio soul hits. What a cool and dopey album, really. Too sophisticated for chart topping; too mainstream to be an underground cult classic. Can't imagine what the hell Capitol were thinking here. The more I review albums on the Capitol label, the more I wonder just how drugged up were those guys in the 70s? Flight were to get even more bizarrely contrasting on their followup album. Awesome.

Ownership: 1975 Capitol (LP)

No reissues as of 2/21/25.

8/18/10 (review); 2/10/17 (update)

Incredible Journey (1976)

Florida based Flight's second album is a super tight and intense fusion like Return to Forever.... mixed with AOR Midwest styled 1970s FM pomp like Styx or Starcastle. Just the most bizarre blend of contrasting styles one can imagine. As if the band were made fun of for being musical wizards, so in order to be cool they put out crowd pleasing rock music. WTH? I like it in any case. One of a kind that's for sure.

Ownership: 1976 Capitol (LP) 

8/18/10 (review); 12/28/13 (new entry); 4/4/18

Fantasy ~ USA ~ Miami, Florida

Fantasy (1970)

Miami, Florida based Fantasy are the sole representative from America on my Post psychedelic, proto progressive with female vocals list (OK, I've added more since). The odd thing is the premise for the list is based on American psychedelic music, but was generally carried forward into the 70s by Europe. While the usual suspects like Jefferson Airplane and Janis Joplin are rounded up for comparison here, this album is far more progressive than that might imply. Given the early date, the music ties closest to Julian's Treatment on Time Before This - as well as the Deram album by the UK group Room. Blues, jazz, and psychedelic rock with organ, guitar, and passionate female vocals are blended together for a fine timepiece. A good one.

Ownership: 1970 Liberty (LP). Gatefold. Everything is backwards per design.

1/31/16 (acquired / review); 10/23/25

10/29/16 (new entry)

Emerald Web ~ USA ~ Florida

Dragon Wings and Wizard Tales (1979)

The Florida based duo of Kat Epple and Bob Stohl debuted with Dragon Wings and Wizard Tales which is a nice mix of sequencer based electronic music, fluttering flute, airy female voice, and acoustic / electric guitar. Excellent atmospheres and even a few heavy rocked out moments towards the end that are well placed to add some much needed spice. A quite varied album, that needs a few listens to appreciate.

Former ownership: 2012 Sebastian Speaks (LP). The cover has been slightly altered from the original. The back cover has been changed around as well. The original is white, the reissue black, and many other alterations with the content and layout. Acquired in 2012. Downsized in 2026.

I found this comment on the web, that I think is interesting: "The label “Sebastian Speaks” is the one who contacted me about “Dragon Wings and Wizard Tales” re-release..... Man…….it has been a long time since I listened to this album! Some cool OLD synth sounds on this one, for sure! - Kat".

This album has yet to be pressed on CD as of 5/5/26.

4/21/11 (review); 11/21/12 (update); 5/5/26

11/21/12 (new entry)

Babylon ~ USA ~ Tampa, Florida

Babylon (1978)

Well it's quite apparent by reading many reviews, that a lot of folks (mainly progressive rock fans) aren't too keen on the sole studio Babylon album. Not to be a contrarian, but I like it immensely. The CD liner notes say that Babylon were influenced by Genesis, King Crimson, Gentle Giant, Van Der Graaf Generator, Happy the Man and "various European and American progressive bands". Yea, whatever. It's 98% Genesis circa 1970-1973 and 2% the rest and maybe Yes is 50% of the 2%. So they ape the sound of Trespass through Selling England By the Pound. Is that so bad? The songs are entirely original, but the style is ridiculously similar to Gabriel and crew. The US landscape of 1978 is filled with bands that mixed progressive rock with AOR styled pop rock. Not Babylon. This is progressive rock made by geeks to be listened to by progressive rock geeks (I'm guilty as charged). Personally I think 'Dreamfish' is their masterpiece and a song that perfectly fits their sound. It's like Genesis extract: Hyper, intense, dramatic and complex. A great album, and Tampa Bay's one sole contribution to progressive rock... long before they would become the Death Metal capital of the world.

Ownership: 1978 Mehum Music (LP). Acquired in 1993.

1993; 1999; 2004; 3/11/10; 6/10/12 (review); 7/5/26

Once owned: Better Conditions For The Dead; Night Over Never

6/10/12 (new entry)

Sincerely Antique ~ USA ~ Miami, Florida

Sincerely Antique (1973)

From Miami, Sincerely Antique is a mix of killer instrumentals, bluesy hard rock workouts with Gregg Rolie like vocals, and soulful Latin pop numbers similar to Malo's more commercial efforts. I like all of it, but the first two categories are more to my taste. Not quite as powerful as Chango or Dakila, but better than many in the genre like Broth or Azteca. Malo is a good barometer overall. Lots of great organ and loud guitar leads. A1 is an excellent instrumental opener and shows that Sincerely Antique mean business, with some killer organ and guitar. A2 is a good example of one of their more commercial efforts. It's a bit sappy, but I like it in a Malo sort of way. Like driving in a convertible lowrider through East LA. A3, A4, and B3 represent the third and final style of the album, where Sincerely Antique play a harder Santana rock style similar to their first three albums. A5 is a killer cover from Santana. Similarly, B1 is the same tune that opens Santana III. B2 and B4 are traditional Latin pop songs, that folks from the Old Country are going to be fond of (my wife recognized them as favorites from her mom's generation). B5 closes the album in an absolute smoking way, similar to Chango. Makes you wish the whole album would have been like it. Though this closer is sadly too short.

Ownership: 1973 Funny (LP). Acquired in 2024.

2009 (CD acquired); 10/30/10 (review / new entry); 1/29/26 (update)