The Far Cry ~ USA ~ Boston, Massachusetts

The Far Cry (1969)

There certainly were a few interesting bands coming out of the late 60s Boston scene: Listening, David Stoughton, Phluph, Banchee, The Tangerine Zoo, and many others. One of the more inventive acts of the day would have to be The Far Cry. Their music is somewhat indescribable. Based in jazz, heavily spiced with psychedelic rock, and featuring impassioned but odd vocals. Excellent sax work from Dick Martin and fine amped up dual guitars from Paul Lenart and David Perry. The album seemingly had no commercial potential whatsoever, something Vanguard didn't seem to care about back then. Not an easy listen, but one that grows on you each session. A deeper dive got me to thinking this may have been the prototype of yet another highly creative jazz psych album from the region: John Abercrombie's Friends, minus the vocals of course.

Ownership: 1968 Vanguard (LP). Promo.

2004 (first listen); 2009; 8/15/25 (acquired / review / new entry)

David Stoughton ~ USA ~ Boston, Massachusetts

Transformer (1968)

---7/29/09

Way ahead of its time experimental psychedelic album. As adventurous as they come for such an early date, I was reminded of other experimental American artists from the same era like The United States of America, Friendsound, Music Emporium, Tim Buckley, Fifty Foot Hose, and The Beat of the Earth. Female vocals, trumpet, guitar, sound collages, and much more. Pure genius.

---5/4/25

More data has emerged since I last visited and wrote about Transformer. Apparently he was a Harvard mathematician (not sure if he was a professor of some sort) and was part of a music group called Cambridge Electric Opera Company, which this album was supposed to be released under. It was a last minute decision by Elektra to only put Stoughton's name and photo on the cover. John Cage was a major influence on the record, Stoughton recalls.

In hearing the album again, the two shorter opening tracks on each side are either psychedelic folk, or an English type of Baroque pop that was popular in the era. A3 is very similar to the experimentalism of Friendsound. And B3, while also experimental, does mix in some coherent psychedelic music. 

It's interesting to see the willingness of major labels to capture a larger audience during the late 60s. Transformer is hopelessly non commercial, but such were the times. By 1970, major labels weren't sure what to do, which is why I often called it the "confused year". By 1971, Corporate America had controlled the market and focused heavily on financial returns. That would be the state of affairs until it all broke down in the 90s when technology allowed everyone to participate. Today albums like Transformer are released regularly, but to niche markets, which is the proper approach.

This same article goes on to state: "Transformer... remains unpopular outside of what the musician calls "a small but dogged core of [online] music lovers who are interested in the extreme music of the '60s". I would agree with Stoughton that the album has found its audience due to larger global exposure. But I disagree with the influencer that it remains "unpopular". Who would know really? Seems popular enough on the websites I visit. I would say "unknown" is appropriate here. It's a polarizing album though, as is Friendsound, so yea it's not for everyone that's for sure. I enjoy it quite a bit, though I wish some of the experimentalism had been dialed back and they included more songcraft instead. Stoughton was good at writing tunes, so nothing to cover up.

Ownership: 1968 Elektra (LP)

No reissues exist as of 5/5/25.

12/20/07 (first listen); 12//08; 7/29/09 (acquired / review); 5/4/25 (update / new entry)

Suzanne Ciani - The Velocity of Love. 1986 USA-Massachusetts

Here's a surprising pickup for me. I found this perfect copy in shrink the last time I was in Pueblo for a dollar. I noted to myself that while these used to be ubiquitous in the record shops, I can't recall seeing one recently. Sure enough, it does have a little value now. I never took the time to hear what she had to offer back then, so let's go for it.

Boston based Suzanne Ciani definitely taps into the moods and sounds of 1986. You might recall my super rich buddy (Al Di Meola review) and his incredible stereo. This would have been the kind of album he would have owned to show that off. Musically it borders progressive electronic and new age, and has a very feminine sweet sound. I can't say I own too much music like The Velocity of Love and it does transport me to a time and place. Those are the type of albums I keep. If looking for comparisons, I'd suggest Vangelis was in this sound area around the same time. I think it's telling that the album was issued on RCA's Red Seal label, which is solely dedicated to classical music. That was the perceived audience for the time.

In reviewing Suzanne Ciani's biography, she was already 40 when this was released (she looks much younger on the back cover), and she's still making music today at age 77. Early photos demonstrate a young lady fascinated with electronics, and it's too bad there aren't any recordings of her music from the 70s (there's something from 1970, not sure what that's about). I can imagine they'd be more Klaus Schulze like than the more refined work of The Velocity of Love. I'm definitely interested now in her 1982 debut.

Ownership: LP: 1986 RCA Red Seal. Single sleeve. Acquired as noted above. 

12/18/23 (new entry)

Eccentric Orbit - Creation of the Humanoids. 2014 USA-Massachusetts

10 years after their debut, Boston's Eccentric Orbit returns with another fine retro prog effort. All instrumental, the group goes through lengthy and complex tracks that never sit still too long. Great analog instrumentation such as woody bass, Mini-Moog, (faux) Mellotron, and violin make for a very pleasant listen throughout. There's no guitar but the guitar synth gives us a facsimile of the sound. About the only thing holding this back from the higher echelons is that it's not very - umm - eccentric. Rather this is a well studied release. Nothing meanders and each space has a purpose. It's not the reckless abandon of amateurs that propels the all-time greats. This is prog rock music made by prog rock fans. If I were to create a progressive rock album, it would probably come out something like this (though not near as accomplished). It's difficult to be uniquely creative this far along in the process. But if you love progressive rock from the 1970s, this is an album you're going to want to hear.

Ownership: CD: 2014 private. Colorful tri-fold digi-pak with vintage images. 

11/2/14; 9/10/23 (new entry)

Osmosis ~ USA ~ Boston, Massachusetts

Osmosis (1970)

One of countless American albums from 1970 that demonstrated an awkward progression from psych to something else. What that something else might be is where either the allure or frustration settles in. Osmosis features none other than jazz luminary Charlie Mariano, who would take this new sound with him to Germany and jam with some of the greats like Embryo. Mariano was already 47 when this album was released, double the age of your average psych performer. His experience plays a major role here, and why Osmosis sounds entirely unique. Where it fits in the collection is a tough answer. Is it jazz rock, prog, or psych? The answer is yes. The vocal segments point to a rock heritage and they definitely have that last stage psychedelic sound down. It's kind of trippy, poppy, and disorienting. But the jazz angle that Mariano brings recalls Wolfgang Dauner, probably his closest peer in terms of age and background. In reading other reviews, one can see the frustration people have with Osmosis. It doesn't fit a narrative. Which is probably why I appreciate it more on each listen.

Ownership: 1970 RCA (LP). Acquired in 2019. 

First copy: 2017 Esoteric (CD). Has copious liner notes but no bonus tracks. Acquired in 2018.

11/3/15; 1/13/18; 8/4/23 (review / new entry)

Cynara ~ USA ~ Boston, Massachusetts

Cynara (1970)

---7/9/14

One of the more interesting American groups from the late 1960's was a Boston based band called Listening, who released one superb album on the Vanguard label. Cynara is the band that formed from the ashes of Listening. Their sole album is an eclectic mix, just as Listening was, but not near as groundbreaking, rocking, or exciting. The first side is pretty much straight up organ rock, while the flip is filled by two long compositions with a jazz piano/organ lounge feel throughout. Yet another USA major label album from the confused year of 1970.

---3/6/23

I took a different approach last night and listened to this from a jazz perspective rather than rock. After two listens, I determined that's how Cynara works best. There's some similarities here to what Brian Auger was doing with Oblivion Express as but one example. Side 2 is the obvious jazz side, but side 1 does possess similar qualities, though on initial impact you could be forgiven for thinking it's straight up hard rock. It's a very odd release, and it has no commercial potential whatsoever. How cool is it, though, that Elvin Jones is the drummer on the last and longest track?

Ownership: 1970 Capitol (LP)

7/9/14 (review); 3/6/23 (update / new entry)

Bellvista ~ USA ~ Boston, Massachusetts

The Painter (1982)

---5/23/15

No doubt The Painter is "of the era", with its sunny disposition, and proto smooth jazz sounds. The opener 'Once Upon a Fantasy' displays there might be more to this than a tropical vacation, as guitarist Peter Calo turns up the fuzz a bit. From there it's a bit of cruise ship lounging, and perhaps even a little acoustic light world music via the Steve Tibbetts channel. All of that is well and good, but do we get that payoff track? Oh yes, we DO! And it's the finale title track that delivers it - a blistering 9 minute psychedelic guitar fronted fusion number that will have you digging through collection looking for your Love Devotion Surrender album. Well, no Larry Young on organ of course, and period synthesizers are in full force instead. But for 1982, that ain't bad right?

---1/12/22

Yep - I'll stand by that. I've been strangely in the mood for early 80s fusion of late. So this one scratches that itch in a big way and resulted in a +1 listen.

No reissues as of 3/29/25.

Ownership: 1982 En Route (LP)

5/23/15 (review); 1/12/22 (update / new entry)

Banchee ~ USA ~ Boston, Massachusetts

Thinkin' (1971)

As noted on the debut entry for Banchee, that album was part of the Bosstown psychedelic scene. For their sophomore effort, they dropped the psych like everyone else, signed with a new label, and decided for a straightforward hard rock approach. And they absolutely nailed it - Thinkin' is one of the heaviest major label albums one can hear from the States at this early stage. Hard rocking dual guitars drive these compositions, and they're not that boneheaded either. They put some real thought into these tunes. Way, way ahead of its time. As such, this album has been a serious collector's item for many years.

Ownership: 1971 Polydor (LP)

10/12/10 (first listen); 1/9/22 (review)

Banchee (1969)

Banchee were a band who formed in New York and moved up north to participate in the Bosstown scene. On their debut album, Banchee play a type of jangly West Coast psychedelic that’s as much Quicksilver as it is CSN&Y. The songwriting is excellent here, and it seems the band was mishandled, as some of these tracks should have been hits in their day. As for instrumental work, Banchee prove to be talented, though they never really let loose, choosing to stay close to the original theme and melody. One of the better hard rock / psych albums to have emerged out of Boston. Great cover art as well.



Ownership: 1969 Atlantic (LP) 

10/12/10 (review); 6/20/19 (update)

No legit reissues exist for either as I update this post (3/12/25)

6/20/19 (new entry)

Spectral Incursion - Anthology. 1986-2010. USA-Massachusetts

And the hits keep on coming. Add Boston's Spectral Incursion to the ever growing list of unknown late 80s American metal bands that were pushing the creative envelope beyond its wildest dreams. Originally known as Graven Image, Anthology captures every song the band ever released + unreleased demos and newly recorded material. Like Slauter Xstroyes, the music is not particularly heavy, but it certainly belongs to metal. And the songwriting is as random and nutty as the aforementioned SX. In fact, I think their earlier material when they were still Graven Image may have been their peak, at least in terms of creativity. But by 1991, the band were clearly a honed in professional unit. It's a tragedy they never could get past the private cassette stage. If tech thrash, or what we used to call technical metal, is your bag then Spectral Incursion is an easy recommendation. File along with first album Sieges Even, Watchtower, and the rest of them.

Ownership: CD: 2011 Stormspell. Recent online acquisition. Great 2 CD set chock full of liner notes and music you aren't going to find anywhere else. Originally released as a numbered edition of 500 copies, the label apparently went for a repress, as my copy is not numbered, nor is there space to place a number. As such, the CD is still readily available. I can't imagine that always being the case, so grab it while you can.

Pye Fyte - The Gathering of the Krums. 1998 USA-Massachusetts

As stated (all too many times), Pye Fyte are like many albums in my collection. I purchased them when new - enjoyed - and then filed. Where it patiently waited 23 years for its next visit. I had no recollection of what it sounded like. Vaguely recalled it was more analog than usual for its day.

Uhh... yea, you could say that alright. Pye Fyte is not just analog, but indeed it is stuffed with Moog and mellotron. Pye Fyte are a duo of John McNamara and Mark Cella. It appears to be mostly McNamara's show, as he wrote and arranged the titles, and plays all the instruments (guitar, bass, keyboards) except one. Cella provides the drums. Of course if you name your band Pye Fyte and your album The Gathering of the Krums, you aren't looking to be taken too seriously, even if it's a play on words. No matter, it's obvious these two put everything they had into this recording. A short release for the time, Pye Fyte stuck to an average LP length, and the lion's share of the eight song CD can be found on the final 2 tracks. Most of The Gathering of the Krums is old fashioned fastball-down-the-middle early 70s prog rock, with a slight English Baroque underpinning. Great production, inventive tunes, and well played instruments. I'm not too fond of McNamara's vocals, which can be placed into the "stilted American singer" category we often hear in prog bands from these shores. A small matter, as the album is mostly instrumental. The Gathering of the Krums is an album that long ago fell off the radar. Like in 1999... If the words above enter your comfort zone, you'll want to hear this album.

Ownership: CD: 1999 M&M. Jewel case with simple booklet containing release details. I remember Mark Cella as I had purchased some CDs from him during the 90s (M&M Music, same as the label for this release). I was sad to learn of his untimely death back in 2010.

Phluph ~ USA ~ Boston, Massachusetts

Phluph (1968)

---12/10/13 

Phluph were like many one-offs during the psych era - faceless, nameless, and a $1 cutout bin special. On the clueless Verve label, and lost in the shuffle with many of their Boston ("Bosstown Sound") contemporaries, Phluph went away with barely a murmur. Starts off more in typical psych rock territory. But then it takes an interesting turn towards the weird by A3 'In Her Way' (though perhaps not weird enough). One distinguishing characteristic of Phluph's sound is the prominent use of organ. Has that carnival sound, like The Doors, but the similarities end there. Some surprising fuzz guitar outbursts too. Even a rare progressive rock move here and there. A very good listen that grows on you over time.

---3/11/21

I'm not going to have much to add here, just to state that last night's listen confirmed my positive experience. The end of Side 1 to the beginning of Side 2 is the highlight for certain. It's definitely pop / sunshine focused psychedelia, with an edge. Recommended.

Ownership: 1968 Verve (LP). 

No legit reissues exist as of 3/28/25 (highly unlikely the Akarma release is legit). 

12/10/13 (review);  3/11/21 (update / new entry)

Mark Pierson Band ~ USA ~ Massachusetts

Songs for the Sirens (1976)

---1/14/15 review

I found this album to be an extremely pleasant piece of music. And there's an underground experimentalism found here that gives off a whiff of Ohr era Krautrockian glory. Perhaps the abundance of flute plays a major role in this perception. We tend to forget that many of the original German underground rockers had a jazz background before entering the studio stoned out of their frickin' minds. Now - to be clear - this is a straight up instrumental jazz rock album in the mold of MPS more so than a Kosmische Musik freakout session. But one that is wonderfully underproduced which gives it that underground garage feel.

Mark Pierson is one of a seemingly endless number of folks to consider use of the generic rainbow album cover. The kind of sleeve you expect to find at Goodwill for 10 cents fronting the "The Megachurch All-Stars Sing The Osmonds" (with one tube of toothpaste included!).

---1/2/21

In hearing this last night, I had a +1 experience. Songs for the Sirens has a vibe that is entirely European, and takes your mind to some unique places. Favorite tracks include 'Wind', 'Arabesque', and the title track. But there's not a stinker in the bunch. Highly consistent throughout, and a superb offering overall.

Ownership: 1976 Gothic (LP). Purchased directly from guitarist Mark Gordon. Acquired in 2021.

No reissues as of 4/14/26.

1/14/15 (review); 1/2/21 (update / new entry)

D.R. Hooker ~ USA ~ Boston, Massachusetts

Armageddon (1973)

I had recently spoken of Hooker's The Truth, and mentioned how much more I appreciated it than in the past. And same can be said for Armageddon. Which, BTW, is completely different musically than The Truth. Mostly this album is a mix of hard rock, AOR, and prog. The original date of the release is 1979, but apparently it was recorded in 1973. Oddly enough, the music sounds more like 1979 to me! That American heartland proggy AOR sound. Could have been from the Midwest, instead of Boston. There's gobs of mellotron on this one too, an instrument not found on The Truth.

2009 On / Scorpio (LP). Like The Truth, it too is nothing more than a brick with no info and questionable sound quality. Acquired in 2015.

2/8/15; 7/20/20 (review)

The Truth (1972)

I've long been skeptical of this LP, and was wondering if I would keep it. But it's won me over finally. Definitely an underground American private press gem. Hailing from the Boston area, Hooker goes through some fine psychedelic Christian folk songs with plenty of fiery instrumental work. His guitar and early use of synthesizers save the day. 

2009 On / Scorpio (LP). One of those 180 gram bricks that are inexplicably popular. And this one has a skip in the mastering - brilliant. No other info. 

2/8/15; 1/25/20 (review)

Architectural Metaphor - Odysseum Galacti. 1988 / 1994 USA-Massachusetts

The early 90s were an exciting time for us fans of unhinged space rock. After years of dormancy, the style was beginning a new renaissance, and bands were coming from all corners of the Earth to display their unique talents. Enter Boston's Architectural Metaphor, a band that continues to operate today in one form or fashion.

I had purchased this CD not long after it first became available, on the promises of a modern Ash Ra Tempel and the like. As was often the case back then, disappointment ensued, as this is quite a ways from the original cosmic Krautrock sound. Dutifully I picked up their second album Creature of the Velvet Void some three years later, and filed both away. At some point not long after that, while doing some weeding out of the collection, Odysseum Galacti came up as a candidate, listened - and decided to sell. Gone. And that was my Architectural Metaphor story...

...Until three years ago when the aforementioned Creature of the Velvet Void was rediscovered hiding deep in my collection. I was mightily impressed, and grateful I'd kept it (notes under that entry). In addition I re-added the band to my ever growing want list for the off chance a bargain copy of any of their other CDs would waft under my nose. And that day has come.

So what of Odysseum Galacti and did I let a monstrously great album slip through my fingers in a fit of housekeeping? Well... no. I can understand why I let this one fly. However, my lower rating was considerably off, probably a rationalization of my actions back then. So let's get to the music here (that would be good of you, Genius Hans). The majority of the album was actually recorded in 1988. It's pretty sludgy stuff when one considers the fuzzy guitars and synthesizers and not-so-great production. Then there's the small matter that most of the percussion is of the drum-machine variety. Eck. Still, not all is lost here, and some of these tracks jam rather nicely, especially the final two 'Anu' and 'We've Come For Your Children'. If looking for comparisons here, I'd say Milwaukee's F/i would be a good starting point. The best is saved for last though, as the two live tracks are both from 1994, and the pared down trio has improved leaps and bounds, and real drums are now in play. Deb Young is gaining confidence behind the kit, and her space whisperer voice is becoming more crucial to their sound. One can easily see why their sophomore effort was so much better. 

Ownership: CD: 1994 ArcMet. Jewel case. Booklet with recording details and photos.

1994 (first listen); 2/15/19 (review / new entry); 10/21/24

The Tangerine Zoo ~ USA ~ Boston, Massachusetts

Outside Looking In (1968)

Outside Looking In is The Tangerine Zoo's second and last album. In reflection, it's amazing just how many great psychedelic bands the United States housed in a relatively short time frame. From 1967 to 1969, you would find psych bands cropping up in every nook and cranny inside America. And the epicenters of the movement, along each coast, were primarily in San Francisco and Boston. It's the latter where The Tangerine Zoo hails from. Previously known as The Flower Pot, the censor boards (that were alive and well in those days) insisted on a name change. Anything with a fruit and the word Zoo was considered hippy enough, so The Tangerine Zoo was deemed safe (Twentieth Century Zoo was to come along shortly).

And then in 1970 it all basically just died. Not a single one made the transition over to the new progressive rock phenomena happening in England and the rest of Europe. Seems like a good dissertation topic for another day.

I bring this up in the review for this album, because The Tangerine Zoo were already heading in that direction, as were a few of their brethren. There's no mistaking this for a late 60s American psychedelic album, with the harmony vocals, old organ, dippy lyrics, and stinging bumble bee fuzz guitars. And the epic closer was de rigueur following the success of The Doors and Iron Butterfly. But as one listens closely to the album, there is an advanced songwriting. Meter, color, and dynamic changes are subtlety tossed in within each track. There's not a dud among the compositions here, almost all quite inventive, even within the short time duration afforded. 'Another Morning' is the only song here that is relatively straightforward (it's a cover of The Moody Blues song), though certainly worthy of hit single status.

If you're looking for a bit more gusto in your psychedelia, similar in that way to Neighb'rhood Childr'n or Strawberry Alarm Clock, then Outside Looking In will certainly delight.

Ownership: 1968 Mainstream (LP)

7/3/18 (review / new entry)

The Freeborne ~ USA ~ Boston, Massachusetts

Peak Impressions (1968)

---2004

Pretty forward sounding psych given the 1968 release date. Varied and deeper than most. Groups like Strawberry Alarm Clock were here but more immersed in pop. The Beatles of course dabbled with these sounds as did the Doors. Maybe closer to some of the Vanguard bands of the day, like Listening or The Far Cry (who were both also from Boston). Lots of instrumentation (trumpet, sax, organ, piano, fuzz guitar, cello, harpsichord, recorder amongst the usual), many meter and style changes (freak out psych, early prog, jazz, sunshine pop, folk, baroque), loads of vocal effects. A truly innovative album. I'm on the 3rd listen and can't decide where I'm going with it.

---12/27/17

Boston's The Freeborne represents some of the finest songwriting of the 60s psychedelic movement. There's echoes of the Doors, but in general, The Freeborne were one of the more innovative of the groups of the day - all operating with the context of relatively short songs (final track on each side sees the band stretching out a bit). Fine guitar, organ, vocals - everything you want in a psych album, but rarely get.

You will often times see this album listed as from 1967. However the CD corrects the record so to speak. There are multiple references and proof of a 1968 release. For example: "Notes on the master tape box imply that the mixing and editing of the album occurred on March 27, 1968". Another reference is a half-page advertisement in the July 1968 "New England Scene" magazine that blares out that Peak Impressions is "Just Released !!"

Ownership: 2014 Arf! Arf! (CD). Booklet filled with historical liners, mono bonus cuts, as well as three reunion tracks. Acquired in 2017.

First copy: Distortions (CD). Nice reissue but the Arf! Arf! is better. Acquired in 2004.

2004 (review); 12/27/17 (update); 11/5/25

Architectural Metaphor - Creature of the Velvet Void. 1997 USA-Massachusetts

Architectural Metaphor were a space rock / Krautrock band from the Boston area, that are long forgotten today, but had a bit of momentum during the late 90s space rock renaissance (most notably playing in the festivals of the day plus various compilation albums). Generally Architectural Metaphor performed as a trio, with loud electric guitar, effects, found sounds, and pounding drums. The latter is unique in that they are provided by a female, who also is their lead singer and "space whisperer". Creature of the Velvet Void is their second full length "proper" album, and marks a distinct improvement on their debut Odysseum Galacti. Musically, Architectural Metaphor are clearly informed by the early Kosmische Musik scene, such as Amon Duul II, Ash Ra Tempel, Cosmic Jokers, et al, as well as the usual space rocker suspects like Hawkwind and Gong. They're not the most accomplished musicians you'll ever hear, but for the type of music they play, a bit of raw amateurism plays to their favor. Besides, any band that names a tune 'March of the Wooden Potatoes' has to be onto something special... 

Ownership: CD: 1997 Black Widow (Italy). Standard jewel case layout with lyrics.

1997; 6/15/16 (new entry) 

Eccentric Orbit - Attack of the Martians. 2004 USA-Massachusetts

A long time ago, I reviewed a then new album by the Israeli group Trespass for Gnosis. The review basically states that if you like keyboard trio proggy prog circa 1972, then you must own Morning Lights. Well... same deal here. Maybe less similar to the Dutch group Trace and more like the Japanese virtuoso Motoi Sakuraba, but this still delivers the goods all day and all night. With some added and varied instrumentation, these guys could create that extra dimension similar to how Pochakaite Malko did on Laya. Special recognition to bassist Bill Noland, who likes to rip out some fuzz bass from time to time. Fuzz bass + mellotron = me like. Opener and closer are the definite highlights, as the aggressiveness plays well for Eccentric Orbit. This album drew almost straight 10s from the Gnosis rat pack (of which I'm part of), and I'm guessing that’s more a reflection of the nothing new assessment. But I tend to be generous to these kind of musical cheeseburgers and grade it a point higher. Big League stuff from the next iteration of Pye Fyte, itself a much neglected late 90s winner.

Ownership: CD: 2004 private

2006; 11/2/14 (new entry)

Randy Roos - Mistral. 1978 USA-Massachusetts

Boston based Berklee graduate guitarist Randy Roos was originally in a band called Orchestra Luna, an album that used to turn up quite a bit in my crate digging days. This album is quite a bit different from that, and is a guitar fronted instrumental jazz fusion - a style that was quite popular back in those days, especially from Masters level grad students like Roos. It's the rougher edge that Roos brings forth that I find appealing, and thus scores an extra point from me. Roos is clearly a master of his instrument of choice, and overall Mistral will occasionally call out Al Di Meola circa Elegant Gypsy or Casino. I was also reminded of the German group Syncrisis, in the more fiery moments. Essential for fans of guitar fronted fusion.

The CD label describes the music as: "Masterfully playing a variety of fretted and fretless guitars, Roos demonstrates why its time for this overlooked gem to be revisited. Mistral is pure high energy fusion that will appeal to fans of Jeff Beck and Return To Forever."

Ownership: LP: 1978 Spoonfed. Single sleeve. Clear vinyl. Online acquisition in 2015.

CD: 2012 Modulus. High quality mini-LP sleeve similar to the Japanese, though it appears the Modulus label was a one-time experiment that didn't translate to profits. There are no bonus tracks, but a fantastic essay was provided by a well known music journalist. This is an album that was introduced to us by Midwest Mike on the CDRWL. Because of his enthusiasm and faith in the music, he was a moving force in getting this title reissued (with an assist from the CDRWL of course...)

2/14/11 (CDRWL); 3/25/12 (new entry); 7/17/18