Rare Earth ~ USA ~ Detroit, Michigan

In Concert (1971)

If there's an album that proves my theory about Rare Earth never letting loose, it's In Concert. When finding this CD I had hoped that perhaps in a live setting, Rare Earth would bring a new level of intensity. Sadly they do not. I'd submit they are of a lower energy than the studio versions. They proved this point the most on 'I Know I'm Losing You', a track that should send chills up the spine. 

Not to say they sleep walked through these tracks either, just that they did not bring the oomph they need. One only has to listen to Judas Priest's Unleashed in the East to know what a kinetic live album can add to studio recordings.

Though In Concert remains their highest rated album (according to RYM), I'm not convinced it achieves the high marks. I would think the only reason to seek this out is for the near 11 minute jam 'Thoughts' which I believe is the only place the track exists.

Source: Motown (CD)

1/28/26 (review)
 

One World (1971)

The big hit here is 'I Just Want to Celebrate' which is definitely the best song on the album for my tastes. This is a good album but somewhat "generic Rare Earth" sounding. They were to rebound nicely on Ma, but this title is a bit mundane. 

Source: 1971 Rare Earth (LP)

9/11/24 (notes)

Ma (1973)

Another solid hard rock funk album from Rare Earth who seem to specialize in heavy psych covers of soul classics. B3 is a killer, one of their best ever. B4 is oddly erotic but a very good track and a different direction for the group. I can do without B2. The side long track is like a lot of the Rare Earth catalog - always on the cusp of something big, and yet they hold back. They never really did let loose for that one psychotic Krautrock styled freakout. I'll keep this one.

Ownership: 1973 Rare Earth (LP). Acquired in 2024.

6/13/24 (review) 

Ecology (1970)

---5/9/22

OK, this is the Rare Earth album I've been looking for. Non stop kickass hard rock and organ. My copy is trashed (like all the ones I've seen), so I'll need to upgrade before commenting more. The only reason I have this copy at all is that I took a chance on one of those Goodwill auctions. It was predictably not a great experience. Fortunately the two records I thought I could resell turned out pretty good and will more than pay for the lot. But I'm not doing that again. I had to throw away the Eagles' Hotel California album it was in such bad shape. Goodwill sucks really. 

---5/19/23

So that day has finally come. There was an interim copy with the cover in shrink, but the vinyl once again barely made the VG level. I finally found a German copy, itself visually a VG, but it plays much better. So let's analyze the album a bit further.

In a lot of ways Rare Earth reminds me of Iron Butterfly. Not so much in sound, but lost opportunity. While both of these bands reached their peak long before my time, any kind of historical study will show that they were both huge in their day and highly influential. Motown named a sublabel after Rare Earth, as but one example. Had they been based in Europe they likely would have had more creative freedom, but the major labels here were laser focused on the next hit, and it appears that both of these legendary bands were all too willing to play ball. Bad for their legacy, and ultimately bad for their pocketbook. Rare Earth arguably fared better with their most known song coming one year later in 'I Just Want to Celebrate'.

While the previous Get Ready had a side long track, it's here on Ecology where the band experiments the most. And the one track where that really becomes apparent is a cover of The Temptations' '(I Know) I'm Losing You'. Everything about it is so perfect, yet it feels like it should be so much more. It's on the verge of psychotic madness but holds back just enough to keep within sane levels. It's use of quiet space inside the proposed boundaries is brilliant. And while it does have some wicked guitar, one wishes for it to have gone off the rails while the impassioned vocals are being echoed throughout the halls. The whole album maintains this feel that they're holding back something special, yet it's still an excellent album. It should have been a masterpiece though. For 1970 America, Ecology was considerably ahead of its time. If only Del Jones had walked in and had some influence. Hoo-boy, wouldn't have that been something? Today dogeared copies of Rare Earth albums sit unwanted in dollar bins, awaiting their ultimate fate to the trashcan. A mere historical footnote in the annals of rock music.

Ownership: 1970 Rare Earth Germany (LP). Acquired in 2023.

5/9/22 (first acquired / notes); 5/19/23 (review)

Get Ready (1969) 

Here is Rare Earth's breakthrough 1969 release. Like with Iron Butterfly, Rare Earth were a band that was positioned for a long great career, only to let it slip through their hands. Similarly their albums are relatively easy to find, and demand remains light. All the same, they are to hard to find in nice condition, as they are usually partied out by now. And taking the comparison further, one could look at Get Ready as Detroit's response to Southern California's In-a-Gadda-da-Vida. Some rockin' tracks on Side 1 followed by a near 22 minute opus on the flip. It's more direct than the oftentimes esoteric Iron Butterfly, but that speaks to the region itself. This isn't my first go round with Get Ready, an album I first picked up back in the late 80s. I thought it was OK, but it should have been better, and moved it out. Some 40 years later, and I still agree with my original assessment. The songwriting is a little light, and the cover tracks aren't particularly compelling. But it's also hard not to appreciate the excellent fuzz guitar throughout. I'm appreciating Get Ready more today than prior, but it isn't near the level - or as influential - as Iron Butterfly's masterwork.

Ownership: Motown (CD). 90s issue. Acquired in 2023.

1989 (first acquired); 5/12/21 (review); 6/23/23 (update)

5/19/23 (new entry)

Funkadelic / Parliament (& related) ~ USA ~ New Jersey ~ Detroit, Michigan

Eddie Hazel - Game, Dames and Guitar Thangs (1977) + Jams From The Heart (EP) (1975 / 1994)

---Nov 2004

Eddie Hazel's sole album is absolutely essential for fans of Hendrix fueled funk. As close as we’ll ever get to knowing what it would be like if Hendrix were to go the funk route outside of classic Funkadelic of course.

The bonus tracks are from the posthumous Jams From the Heart EP recorded in 1975, and not released until 1994. The music is just as stated - long overloaded guitar jams. Good stuff, if not overly focused, more boogie oriented on the first long jam, more blues based on the other. There are two shorter pieces as well including my fave ‘Unkut Funk’.

---12/29/25

And that was my last listen long before the advent of UMR. Since that time, my interest in funk has gone considerably up. Especially from the 45 scene, where there are many more examples of psychedelic funk. 45s are a good format for the style as they usually get right to business and don't piddle around to fill the LP length. Eddie Hazel's album is like one big string of psych funk 45s. The covers are so rearranged and distorted you'll be hard pressed to name the original. That's a plus. As indicated in my original review, essential for the style. 

Though Jams from the Heart is technically an EP, it isn't much shorter than the Game LP. These recordings weren't ever meant for commercial release, so we basically get to hear Hazel jam in the studio. Sounds like a great idea to me.

Ownership: 2004 Rhino Handmade (CD). Four bonus tracks. Numbered edition (mine is #3233).

11//04 (acquired / review); 12/29/25 (update)

Standing on the Verge of Getting It On (1974)

Funkadelic's 6th album brings back Eddie Hazel on guitar after a two album break. If you didn't know any better, one could be forgiven in thinking this was a hard rock album. Or at least heavy psych in the Hendrix tradition. It's hard hitting rock that eventually does demonstrate their funk roots in the middle of the album. The final track 'Good Thoughts, Bad Thoughts' proves that Funkadelic still had reverence for the last part of their name. Considered by many to be their finest album, it certainly gives Maggot Brain a run for its money. The latter possessing stronger material but is less consistent. 

Lyrically this album is Standing on the Verge of Getting Can-Celled. In our current bizarre culture, even a clinically crazy group like Funkadelic is finding themselves under the lens. The opening silly dialogue and tracks like 'Jimmy's Got a Little Bitch In Him' are already under scrutiny by those that feel they are insensitive and do not pass their "purity test". At the current rate, this album will be banned in 10 years. No wonder everyone is running out to get their copy. America Eats Its Young indeed. Who said that anyway? Oh yea, I know.

To this day I haven't heard the two albums that precede this, something I'm sure will be rectified eventually.

Ownership: 1974 Westbound (LP). Gatefold.

3/15/05 (CD acquired); 8/25/22 (LP acquired / review)

Funkadelic (1970) 

In recent years, funk has become one of my favorite styles. So I was very much looking forward to revisiting this title in the collection. It's an interesting debut - not particularly funky at all. It does have psychedelic aspects, mostly found in the production and with Eddie Hazel's guitar. The latter is not near as focused or as intense as their 3rd album Maggot Brain. A lot of loose jamming can be heard here - many compare to Jimi Hendrix's albums from the same era, but I would suggest this is more laid back than that might imply. One of those albums I'm sure I'd appreciate more as an original LP, but those are extremely hard to find at any kind of a reasonable price. For now I can let the CD fly. 

Former ownership: 2000 Westbound (CD) 

2003 (CD acquired); 6/20/22 (review) 

Parliament - Mothership Connection (1975) 

So... what would be the opposite of Fleetwood Mac? Rhetorical question. Whatever traces of seriousness George Clinton had left for Funkadelic are now completely wiped out on the resuscitated Parliament project (once a doo-wop group going back to the 1950s called The Parliaments, when Clinton was still a young teen). This album has one purpose - to Par-Tay. It's funked up, prosifunkstication, and thumpasorus. P-Funk is its own genre for a reason. It's pure funk too, so no psychedelic guitar frenzies or progressive rock charting to get in the way of the dance floor. And a heck of a lot of fun.

Former ownership: 1976 Casablanca (LP). New label design. Acquired in 2020.

12/22/20 (review)

 

Maggot Brain (1971)

Maggot Brain is the 3rd album from Funkadelic, and is often cited as their masterpiece. No argument from me, though it is quite a departure from their ordinary sound. The title track has to be the darnedest opening to a funk rock album that has ever been. Sounding like a cosmic Krautrock piece, Eddie Hazel conjures up My Solid Ground on 'Dirty Yellow Mist' playing the music of Dom's Edge of Time. I will never tire of music such as this. Can you imagine if Eddie Hazel was the guitarist for Del Jones? Well then, there would be no point in owning any other albums.

I'm not particularly fond of the more traditional soul funk tracks here such as 'Can You Get to That' or 'Back in Our Minds'. The hard hitting psychedelic funk of 'Hit It and Quit It' and 'Super Stupid' are Funkadelic at their energetic best. And 'Wars of Armageddon' closes in great fashion with more heavy guitar and some experimental collage work. Yep, I'm standing in line for this one. 

Ownership: Westbound UK (CD). 90's pressing.

1998 (acquired); 2/7/15; 12/20/19 (review)

12/20/19 (new entry)

Thought Industry ~ USA ~ Michigan

Songs for Insects (1992)

Recently I mentioned that Coroner could very well be my favorite metal band of all time. Songs for Insects is in the running for my all-time favorite metal album. I've referred to this album often in these pages, usually when complimenting a band on their inventiveness, drawing comparisons back to Songs for Insects. Kalamazoo's Thought Industry seemingly came out of nowhere, and rewrote the book on the possibilities of thrash and progressive metal. It proved to be too much for the general public, however, and the album more or less disappeared into the ether. Even today, it's not much more than a cult favorite, but with only a very small, but loyal, audience. Their second album was much heavier, though not near as creative in my mind (though it rates higher in metal forums). I removed it from the collection, but still have the CD here, so maybe I'll try one more time. After that, they switched gears entirely and became an alt-rock band. And not a very good one at that, though I probably wouldn't know what a good alternative rock band sounds like anyway.

Though it appears the last time I heard the album was when I bought it upon release, that's only because I have no documented listens since 2004. But I heard this album a lot throughout the 90s. It was one of my adrenaline go-to's, and certain tracks I'd hear over and over. But it's true, it really has been over 20 years since I last heard it in full. So I'm curious if it holds court as a top level metal album, or if it's lost its lustre. Let's dive in.

The album actually starts off like a more traditional thrash album, albeit with technical complexities. A little bit like Wrathchild America. The crunchy guitar tone is perfect and I really appreciate the vocal style. He doesn't shriek or growl, but rather he sings. What a concept. It's the title track where things get weird. I mean really weird. You can pretty much tell if Songs for Insects is going to be for you right here. The music is all over the place and rapidly changes tempos. It's about as progressive as it can possibly get, including traditional prog rock. Imagine Gabriel-era Genesis mixing it up with Watchtower. Get your mind around that one for a minute. The vocals are at once soft and harmonious, and at others they're processed like a beast. But nothing like death metal, more like a 70s type effect. And the lyrics draw inspiration from the cover. Daliesque indeed. You probably should hit pause here and take a few breaths. It's an overwhelming track.

You could parse one track a day, and pull something different each time from it. For any other band, every one of these songs would be the highlight of the album. Here they get lost in the mix and it's a lot for the brain to distill. It's only because I know the album so well, I can anticipate where the music is heading, and recall the peak moments. And there are so many peak moments. Track 5 provides the necessary acoustic break in the action, though no less progressive. 6) is the perfect energetic setup for...

7) 'The Chalice Vermillion'. As if the title track wasn't enough, Thought Industry had one more incredible composition in their suitcase. It's just as insane, but with even more ideas per second. It's crisply executed too. I could make an argument that this is also one of the greatest metal songs ever made. What on earth was going through the minds of this group when they composed these numbers? They defy all sorts of convention. Tales from Topographic Melting Clocks I'd submit. Hi King Crimson, meet Death Angel. Surreal as it gets.

After that roller coaster ride, we still have three tracks and 23 minutes to go. And it's not like they eased off the gas. 8)-10) are just as progressive, in some cases pure prog rock versus metal. These three would have made an excellent EP, released separately. It's easier to digest that way.

You'll notice that every review of this album is very different from each other. Everyone has their filters, and this album manages to obliterate those in ways none of us truly understand. But what it should tell you, my dear reader, is that you will be in for a unique experience. And it will be all your own.

One other thing - this should be the last album in your listening session. Nothing else will sound the same. Tomorrow is another day, and all will be back to normal.

Ownership: 1992 Metal Blade (CD). Booklet with small print lyrics, recording details, and a band photo.

Also have Mods Carve the Pig.

1992 (acquired); 12/8/25 (review)

Ted Nugent | The Amboy Dukes ~ USA ~ Detroit, Michigan

The Amboy Dukes - Migration (1969)

Migration has such an interesting opening for a band like the The Amboy Dukes. The title track is a full length psychedelic instrumental followed by the somewhat proggy 'Prodigal Man', complete with an organ soul jazz bit, despite the short drum solo. 'For His Namesake' is really great, very psychedelic with plenty of early progressive rock ideas. I love Nugent's psych tone here, something that would have been cool for him to bring back at some point in his career (90s and beyond). Andy Solomon's organ adds a unique twist, bringing the sound closer to the Bosstown sound of the era. B1 is a bit silly, but the follow up is a killer slice of psych, as is B3. B4 is a bit strange and improves as it goes. Solomon only gets one of his songs in, and he brings in some soul funk, giving it a local Detroit edge. Nugent closes the album with his own hard edged funk track. Migration is a vast improvement compared to their debut. In reading reviews, the major trajectory happened on the predecessor Journey to the Center of the Mind. I'm familiar with the song, but remarkably have yet to hear the album. Hopefully I'll find a copy at some point.

Ownership: 1969 Mainstream (LP)

9/5/25 (acquired / review)

Cat Scratch Fever (1977)

Ah Terrible Ted. Love him or hate him one cannot deny his presence on the worldwide hard rock stage. I enjoy his first two solo studio albums, and this is his third and most popular. It's been over 40 years since I heard it in full, going back to early high school. This is certainly better than I remembered and a few of these tracks received airplay back then. It's fairly melodic too, conjuring up Nugent's past with The Amboy Dukes. He was a superstar during this time, and Cat Scratch Fever helped solidify his reputation. He was to lose his edge shortly thereafter, but he still was a major force as a live act, and one I got to see in 1980. Full of energy that man was.

Former ownership: 1977 Epic (LP). Gatefold

1979; 8/18/24 (review)

The Amboy Dukes (1967)

The Amboy Dukes debut, and Ted Nugent's first appearance. On a psych album, contrary to his image. Pretty good effort, mixing his hard rock tendencies with flower power sounds and ideas. B1 is fairly dull but most of this is satisfying on some level. Is that Nuge playing the sitar? Hard to even fathom.

Ownership: 1967 Mainstream (LP)

8/12/24 (acquired / review)

Nugent (1982)

If the Nuge had kept his mouth shut, his albums would likely garner more of a following today. But in the music collecting world, he is persona non grata, for right or wrong. As such his records end up in free boxes, and no one still wants them. Of course the album known as Nugent is hardly on anyone's Ted Nugent wish list to begin with. I'd never heard it, so why not, can't beat the price (free). At this stage of his life, he was trying to shed his Terrible Ted image, and go all sensitive. The music doesn't reflect that image though. It's mostly straightforward boring - and very dull - hard rock. However, there is one great track and that's the finale known as 'Tailgunner'. This sadly unknown track was wasted here, but recalls the glory days of 'Stranglehold'. So overall it was worth hearing for that. 

Source: 1982 Atlantic (LP)

4/6/23 (review)

Double Live Gonzo! (1978) 

I have a soft spot for Terrible Ted, since he was the first major arena concert I ever saw, only a year plus after this live release. It's a strange mix, in that it completely ignores Free For All (very good album), or even his latest release at the time - Weekend Warriors (not so good). The majority of the double album is culled from his fertile 1974-75 period which includes his last album with The Amboy Dukes name (Tooth, Fang & Claw) as well as his famed self-titled debut. It's a very good energetic set, but I'm fine with the few Nugent albums I already own. And Nugent isn't the greatest guitar improviser. 

Source: 1978 Epic (2xLP)

7/7/21 (review)

Other albums I own and need to review: Ted Nugent (1975); Free For All

9/5/25 (new entry)

Bob Seger System - Ramblin' Gamblin' Man. 1969 USA-Michigan

Almost precisely two years ago I wrote the following after finding the CD in a thrift shop: "I know pretty much zilch about early Bob Seger. His later Silver Bullet albums were (and are) ubiquitous in America's radio and music culture. They now call it "Heartland" music, which is a cousin of my own Midwest reference when talking about hard rock, AOR, and prog acts from the region. Except Seger's music is based in country and blues. But this album is definitely different, as any review will indicate. Actually the title track does foreshadow his later work, as does a couple of other songs on Side 1. It's Side 2 that is fascinating starting with 'White Wall' and ending with 'Doctor Fine'. A mix of trippy and hard psychedelia, which matches the cover (an awesome one at that). Not going to hold onto this (surprisingly scarce on CD), but probably would keep the LP if I ever see it."

---

So that premise was put to the test last night. As you can probably tell since I'm featuring it, the LP did take it to another level. A second listen helped as well and resulted in a +1. With a title like Ramblin' Gamblin' Man and a cover of a holy pretty blonde pledging allegiance, one could be forgiven thinking this might be a country album (though the day-glo blue on a glacier plate would be unique in that space). One look at the back cover will dispel that notion however. If it were all like the first side, the album wouldn't make the cut. The title track is OK and A3 is annoying. A2 and A4 are the highlights. Side 2 is where the money tracks are. In fact, other than the closer, this side could be considered a 60s psychedelic classic. '2+2 = ?' is exactly what collectors around the world are paying top dollar for in the 45 market. This is not the Bob Seger you know. As one RYM reviewer hilariously notes: "The psychedelic skeleton in Bob Seger's closet."

Ownership: LP: 1980 Capitol. Single sleeve. Love both sides of the cover. Finding this in the wilds has proven to be tough but I scored this one dirt cheap (minty too) at the Denver Record show last week (2023). This would be the last vinyl pressing before the modern era.

10/22/21 (CD 2.11); 10/20/23 (new entry)

The Counts - What's Up Front That Counts. 1971 USA-Michigan

The second the music started on What's Up Front That Counts, I was enthralled. Detroit's own The Counts offer up an immediately likeable funk album, more so than any album I can think of in the genre. Not necessarily the best funk album, but rather it's funk extract - what I expect all of these albums to sound like, but rarely do. I said something similar about Morgen for the psychedelic genre. What's Up Front That Counts has a groove that just won't quit. No extraneous detours here, this just brings the goods for the grand total of 28 minutes. Yes, it's short, but not a second wasted.

Ownership: CD: 2011 Westbound (Europe). Recent online acquisition (2023). Jewel case with a short history. Also includes a very rare 1978 single. 'Motor City' is very similar to the 1971 album while the flip is more in the soul genre.

6/29/23 (new entry)

Symphonic Metamorphosis ~ USA ~ Detroit, Michigan

Symphonic Metamorphosis (1970)

---3/31/10

Fascinating nine piece horn rock band formed by (then) active members of the Detroit Symphony Orchestra. The horns are exquisitely performed, though the rock sections are a tad more restrained and pedestrian for a band with these kind of quals. Still, the guitar and organ work is efficient. The vocal harmonies have a 60s vibe to them. 

---3/22/23

That's a pretty decent Zagat styled review and mostly represents my feelings about it today. For a band with this kind of background, it does rock pretty hard especially given its 1970 vintage, a year that was very transitional in America. My rating stayed the same, but I see this one as a keeper. Unique in its own way.

Ownership: 1970 London (LP). Gatefold.  

No reissues exist as of 3/31/25.

3/31/10 (review); 3/22/23 (update / new entry)

Yusef Lateef - Detroit Latitude 42° 30' Longitude 83°. 1969 USA-Michigan

Yusef Lateef is a name I'm familiar with, but as I'm something of a novice when it comes to jazz, I cannot say I've heard any of his albums until now. I'm sure his earlier work is more traditional, though I'm reading he incorporated more Asian influences than most. On Detroit Latitude 42° 30' Longitude 83°, Lateef has joined in with the funk crowd, with a bit of psychedelia. His primary instrument here is flute, and his playing recalls the great Lloyd McNeill at times. I was completely sold at the opener 'Bishop School', which is darn near perfect for the style. 'Eastern Market' is a another highlight. And so it goes. Only the finale, the noirish smoky jazz of 'That Lucky Old Sun', could be considered traditional. Overall a wonderful piece of music, and I look forward to discovering more from Lateef.

Ownership: LP: 1969 Atlantic. Single sleeve. Promo. This will be the first of many albums I will be reporting on from the RT Collection. RT is a local collector and a customer/friend of Purple Peak Records. He has thousands of albums strewn about everywhere, and has asked us to help him curate them. His interest is in 60s folk (and we found many already for his permanent collection), so we'll end up with the rest per agreement. As you can imagine, most of the albums are junk - either good for mailers or, at best, $1 bin items. Of course there's plenty more good stuff to sell at the shows or trade locally. For the first few hundred, this is the only album I've kept so far. I have a few more I've pulled to listen to though. Tons more to go through. And that's just the first batch! This will be a huge undertaking.

Stanley Steamer ~ USA ~ Michigan

Stanley Steamer (1973)

Not even sure where to start with this one. I've had the album on a curiosity list for many years. It's not an expensive album, and so when a sealed one came up recently for cheap, I decided to take the plunge. Finding information about the album is difficult. Stanley Steamer are a nine piece band with horns and a female vocalist. Side 2 is one track that is close to 18 minutes long. On paper it would appear the album is marrying two of my favorite styles together: Horn rock along with female vocal led proto-prog.

And... that's not too far off from what you get! Though it's not really either in the traditional sense. It's more pop oriented than progressive, and the horn rock never really takes off like Chicago or McLuhan for example. Most of Side 1 is satisfying, though I could do without the second part of 'Rainbows on My Face' and 'Desperation, I Love You'. Side 2 is superb throughout, and the track length is never padded with any kind of aimless solos (I had dreaded the insipid drum solo, but none to be found). It takes a couple of listens to adjust the ears on this. It's unique, though not unfamiliar. The songwriting is at a high level, though none of the melodies are particularly memorable. That is to say, there's no single track here you'd want to play over and over, yet hearing in full is very satisfying. Holly Vaughn is a true vocal talent, and most certainly could have been a major pop or jazz singer. The (sparse) orchestrations on side 2 reminded me most of Burt Bacharach's arrangements, and in that light, Vaughn recalls Dusty Springfield.

About the band, deep in the web, I found this article. If not reading closely, you would presume the band to be from St. Louis, but it turns out they're from Lansing, Michigan. Jolly Rogers is none other than Kenny Rogers' label. At the time, Rogers was fronting a band called The First Edition (an interesting band in their own right, and not something one would associate Kenny Rogers necessarily with). He was anxious to expand his label, and Stanley Steamer was his first major signing. Then things went awry with The First Edition, and that was the end of the big dreams. For both the label and the band. Given the amount of supply of (mostly) promo copies, it appears Rogers (or his company) did try their best to promote the album.

Since it's an inexpensive album, and a reissue doesn't seem likely, I would suggest grabbing one of those LPs while they're still out there.

Ownership: 1973 Jolly Rogers promo (LP). Gatefold. 

6/11/20 (review / new entry)

The Propositions - Funky Proposition. 1972-73 USA-Michigan (archival)

I recently had a chance to hear their 45 'Africana', and my response was: 'Africana' is a killer slice of early 70s instrumental Detroit funk. Heavy thick bass, wah wah guitar, Hammond organ, flute, big 'ol fat horn section, and funky drums. Not much else one can ask for in the funk genre. Then I came to learn there was a full 2 CD set of material. And what a set it is! Very much in the same style as my response above. There's a strain of funk I really enjoy and The Propositions may be the best band yet that I've heard to tap into that strain. Even better than The Beginning of the End.

Ownership: CD: 2005 Luv N' Haight. Recent online acquistion. Fantastic 2 CD set with extensive liner notes with band participation.

Fresh Start ~ USA ~ Detroit, Michigan

What America Needs (1974)

Fresh Start's sole album is an excellent example of the American ghetto funk rock sound that was popular in the early 70s. Lead by guitarist Paul Frank, who hailed from the Detroit area and was formerly in the band Head Over Heels, Fresh Start formed in California and took advantage of the music scene thriving there. What America Needs is a killer slice of heavy funk rock, the kind you wish all of these type of albums to be. Michigan rockers Rare Earth and Grand Funk Railroad are two obvious influences, but one will also hear similarities with obscurities such as Purple Image and Lost Nation. As expected, there's plenty of great guitar leads courtesy of Franks, especially on 'Gypsy'. Other than the relatively more radio friendly 'Right Away', most of this album just kicks ass non-stop. Given that's it's a < $10 record, don't miss out on this one!

No reissues as of 3/12/26.

Ownership: 1974 ABC Dunhill promo (LP). Acquired in 2013.

12/14/13 (review); 2/5/20 (update / new entry) 

Earthen Vessel ~ USA ~ Michigan

Hard Rock Everlasting Life (1971)

Earthen Vessel were a band from Lansing, Michigan who got caught up in the "Jesus Rock" movement. Whereas 95% of the bands operating in that territory are pretty wimpy, Earthen Vessel cranks up the amps and the guitars just wail on here. One of those albums that fall between hard rock and heavy psych, the first 25 minutes of this album just blazes throughout. Only the final short 'Get High' (On Jesus) will remind one of a typical church youth group hymn. And these guys aren't "sort of Christian" either, they're preaching the Gospel from the mountaintops, with dual female / male vocals all through. And yet it doesn't distract in the slightest, unless you have religious issues. Easy recommendation to fans of the aforementioned genres.

Ownership: 1999 Gear Fab (CD). Booklet with historical liner notes written by one of the members of the band. Acquired in 2017.

12/20/17 (review) 

12/27/17 (new entry)

Discipline ~ USA ~ Detroit, Michigan

Unfolded Like Staircase (1997)

When Unfolded Like Staircase first hit the market, there was an enormous buzz surrounding it. I wasn't overly impressed, the album seemingly like many new American prog bands that were being praised at the time. And left me scratching my head. Echolyn and Spock's Beard were also receiving rave reviews, and while I could appreciate both (the former more so), to my ears they weren't even necessarily worth keeping. And same with Discipline, which I sold quickly. Recently the title popped up again for sale on the cheap, and so I thought I'd give it another whirl some 20 years later. Yes, OK, this album now does resonate quite a bit. No question it has an earlier era feel to it - more 70s for certain than most bands coming from the 90s. There's a strong VDGG component here, mixed with the complexity of a band like, yea, Echolyn. Some of the music here, especially the vocals, annoy me at times. But then again, Peter Hammill annoys me often too, so therein lies the problem. The many reviews I see for the album go to great lengths to describe the superlatives here. They can't all be wrong. I can see that multiple plays will result in a better experience. Well worth owning.

Ownership: 1997 Strung Out (CD). Lyric booklet.

1997 (first acquired); 5/14/17 (reacquired / review); 5/22/24

5/14/17 (new entry)

Marcus ~ USA ~ Detroit, Michigan

Marcus (1976)

In the record collecting world, there is rare, unknown, and obscure. No album better demonstrates the latter like Marcus' sole album. I've been at this racket for 35 years, and it's only recently that I've even heard of the album. No doubt I passed over this LP hundreds of times at record stores and fairs since the 1980s. With an album cover like that, it just didn't appear to be anything that would be in my interest area. But once I got the scent, and did a bit of research, it was clear this is something I needed to secure for the collection. With a recent and inexpensive CD reissue on Rock Candy, off to Amazon I went, and here we are.

Marcus (the band) is definitely an example of lightning strikes once. Bandleader Marcus Malone was already a known entity, having joined a late era Mitch Ryder and the Detroit Wheels lineup as lead singer. His band was gaining strength as they played in the more known clubs throughout the Midwest, especially in his hometown of Detroit and nearby Chicago. Eventually none other than Ike Turner discovered the band, had them signed up to United Artists, and flew them out to Los Angeles to party (and presumably record an album). The label and studio insisted on some lineup changes as well (including adding Cactus' Tim Bogert on bass), and that's how they ended up with the unusual three guitar lineup.

With that setup alone, I wouldn't have expected much to be honest. But the reality is far different. Marcus predicted the oncoming hard rock and heavy metal movements. And he (Malone) had a personal love for progressive rock. All of those ingredients found their way into this recording. For 1976, on a mainstream label like UA, this album was doomed to be a cult classic from the get. Apparently the Europeans caught wind of it a few months after release (long after Turner and the label had lost interest in their new toy), but it was all too a-day-late-and-a-dollar-short.

There are no weak tracks here, though not every song is a winner either. But for fans of mid 70s hard rock, it's a bullseye. The finale 'Rise Unto Falcon' is the song that most demonstrates Marcus' prog rock interests, with loads of mellotron to boot. Predictably that was my favorite of the batch, as I never seem to tire of that unique blend of hard rock meets progressive sound.

History tells us that even if Marcus had survived this recording and made another, it wouldn't be anything similar. It would have been highly likely that funk, soul, pop, or disco would have been forced onto the band, and they would have ultimately disintegrated anyway. That tale has been told numerous times. Perhaps it's best Marcus went out on their own terms, with an album (and name) highly revered 40 years after the fact.

---8/9/26

I didn't offer up any comparisons above, but in hearing it again, I heard similar era Scorpions (not too many albums remind me of this era of the Scorps), first album Montrose, and even the heavier spectrum of Styx. An excellent album that continues to grow in stature for me.

Ownership: 2014 Rock Candy (CD). Booklet with extensive historical liner notes and photos. Acquired in 2017.

4/10/17 (review); 8/9/26

4/14/17 (new entry)

MacArthur ~ USA ~ Michigan

MacArthur II (1982)

Recorded between 1977 and 1982, the music on MacArthur II is remarkably similar to the debut, and not a surprise given the time frame. Except II is even better, thought out, and more mature. By 1982, this kind of music here in America was extinct, so it's always fun to see an album like MacArthur II appear on the landscape. Primo-era late 70s Rush remains the primary influence, though there's a distinct space rock jam element this time, which is even more unusual for the time.

Ownership: 1982 private (LP)

This album still remains without a reissue as of 11/12/25.

1/29/17 (acquired / review)

MacArthur (1979)

Namesake band leader and guitarist Ben MacArthur states in his liner notes to the newly reissued CD on Out-Sider: "In 1977...the Rust Belt was in full decline and jobs were getting scarce. There wasn't much to do, so we picked up guitars and wrote songs and recorded albums, because we loved music. Because we believed we could be something more than even rock stars. We believed out music would survive the ages." OK, now go read my introduction to the USA Midwest / Ontario Progressive Rock (1970's/early 80s) list. I'm telling you folks, this was the phenomenon of the time and place. There were no video games to distract, and no gainful employment to be had. Perfect then, let's create a band!

Further, Ben adds "I went to watch Bill (Heffelfinger, keyboardist, guitarist and engineer of MacArthur) play with a band named Labyrinth at a local fair, and they played 2112 by Rush and I was truly amazed!" And there it is again, a local regional hero providing the guidance, in this case Toronto's Rush.

And really, that's all you need to know about the debut of MacArthur. Rush is definitely the blueprint, but traces of other UK and US prog and hard rock bands are apparent. It's definitely an original work, despite the influences. Overall it's a very primitive, but earnest effort, by quality musicians and composers, looking to make their mark on history. Generally, this was the type of album that would be captured by the "cassette tape culture", that was just about to get rolling in the early 80s.  So yes, it does require a mind shift and a predilection for such artifacts. And I clearly do, so my rating and review is biased accordingly.

By pure happenstance, the band was successful in getting 200 LP's pressed by the custom label RPC in New Jersey (hence the band was often wrongly referred to being from there, rather than Saginaw, Michigan). There is a dreadful bootleg that's been out there for years called The Black Forest, that was filled with misinformation. Not only did it insist on the album being recorded in Camden, New Jersey, but they appended the date of 1973 to it. To this day, all the online discographies maintain this bad data, because of a crappy pirate issue. The band was formed in 1977, so unless they have mastered time travel, we'll go with Ben MacArthur's date of 1979.

Ownership: 2016 Out-Sider (CD). Historical liner notes.

7/24/16 (review); 11/12/25

7/24/16 (new entry)

Inserts ~ USA ~ Michigan

Out of the Box (1983)

A very interesting instrumental album from Ann Arbor, Michigan. Inserts are an improvisational guitar based trio, with a clear understanding of the value of a good production. The guitar is distinctly from the Fripp school, including the angry atonal fuzz tone. The bass work has an almost Zeuhl quality about it, though it doesn't rumble along the rhythm like Paganotti or Top would do. These kind of albums didn't typically exist in 1983, but other than the occasional Starless and Bible Black reference, I would say that the Inserts were ahead of their time. You could convince me a band such as Djam Karet may have stumbled onto their album in a used bin somewhere.

Ownership: 1983 Nozzle (LP). The album was pressed in Japan and released on their own label here in America. 

No reissues exist as I update this (2/21/25).

1994 (first listen); 2008 (review); 1/7/17 (new entry)

Phantom ~ USA ~ Detroit, Michigan

Phantom's Divine Comedy Part 1 (1974)

Phantom were in reality a Detroit area band slumming around with the name Walpurgis. Vocalist Ted Pearson* had an uncanny resemblance in both voice, and even appearance, to Jim Morrison, and thus Capitol thought it might be a good idea to exploit the myth that Morrison was still alive. It's hard to imagine a corporate entity such as Capitol getting in on such sophomoric antics, but it does appear that's exactly what happened. Naturally the whole idea fell on its face, and Phantom disappeared as they came, through the ether.

The sad thing about this ruse, is it was entirely unnecessary. Phantom, in fact, were really quite adept on their own accord. In effect, Phantom are a hard rock band, with psychedelic and progressive characteristics. So the Doors comparisons begins and ends with Pearson's voice. The rest is somewhat unique for an American major label band from 1974. The opening track 'Tales from a Wizard', 'Spider's Will Dance', and the last 16 minutes of the album are the highlights. It's just this kind of mystical hard rock that is now being recreated by a new inspired youth. So while Capitol were trying to exploit history, Phantom were actually predicting the future. Wonderful irony.

* - For years thought to be Tom Carson, but he was in another band. Ted Pearson later legally changed his name to Arthur Pendragon. All the hard data is out there now, so no more need for conspiracy theories :-)

---4/27/18 update

I recently received a very nice note from RD Francis, who has written a book about "The Phantom". Looks very interesting, and nice to know the facts are now coming to the fore.

Ownership: 1974 Capitol (LP). Acquired in 2023.

First copy: 1993 One Way (CD). Acquired in 1996.

1996; 1998; 11//04; 7/11/13; 7/25/15 (review / new entry)

Sproton Layer - With Magnetic Fields Disrupted. 1970 USA-Michigan (archival)

Back in February/March of 1998, while still a "road warrior" consultant, I had a gig in San Ramon, California, which included a corporate apartment there. So every Sunday night, like clockwork, my wife would drive me to the airport and I'd make the flight from Denver to Oakland, usually arriving by around 9:00 PM local time. As soon as I sat into the rental car, the first thing I did was turn the radio dial to KFJC, certainly the most interesting radio station one can hear in this country. They played all sorts of experimental/progressive music, and it was usually a learning experience for me. The catch was I had limited time to hear it. Since the station is based in Los Altos Hills (closer to San Jose), their range was somewhat limited. Once I crossed the East Bay foothills, into the area of what is known locally as the Tri-Valley, the signal would be broken and ultimately lost.

One evening, in that 20 minute period, on came this pretty incredible psychedelic album with fuzz guitar and trumpet (?!). Since most of what they played was modern, I was very intrigued by what I was hearing. My only fear is I would lose the signal before knowing. But I caught a break, and needless to say by now, it was Sproton Layer. No other explanation was offered. I said to myself: "Well I got to get me this new group called Sproton Layer!" lol. I started doing research on the internet, and lo and behold Wayside had it in stock, with the explanation that it was an archival release from 1970. That certainly makes sense! But why would Wayside have it? Because the ever creative Roger Miller, was not only in Mission of Burma, but also the avant prog band Birdsongs of the Mesozoic, a band who was on Wayside's own Cuneiform imprint. Amazing how all these things fit together sometimes. I bought it immediately, and now it has come up for a revisit. I'm not sure I've heard this album since 1998!

Anyway, if all the above bores you, suffice to say Sproton Layer will not! The band hailed from Ann Arbor (University of Michigan) and the music is a highly creative post psychedelic album, just prior to the progressive movement taking hold, and the trumpet adds a fresh layer of sound not typically found amongst the fuzz guitar blasts. I often say that 1970 is the American confused year both musically and socially - and Sproton Layer is the perfect representative of that era.

If you've gotten this far into the review and you're reading about a psych band from 1970 with trumpet, what might be you thinking? Yes, that's correct, the "psych monster" C.A. Quintet of Trip Thru Hell fame (from nearby Minnesota). And the results are remarkably similar. The only difference is Sproton Layer never released an LP in their day. Because if they did, it would also cost over $1,000 today. With ample availability, this is an easy recommendation for fans of late psychedelic and early progressive rock. This album is still criminally unknown.

Ownership: CD: 1991 New Alliance. Neat little archival release from New Alliance, a subsidiary of SST, and a long way from anything you would expect from the label. No doubt it obtained a release due to the Mission of Burma ancestry (Roger Miller). In doing research for this title, I discovered it was also released on LP, and perhaps even more surprising, it was reissued by Germany's World in Sound on both formats.

Mystic Siva. 1971 USA-Michigan

There are certain types of underground rock that are highly desirable, more for their mood and atmosphere, verse actual songwriting and talent. The “lost teenager angst” sound is one of the most sought after in this category, as it provides an historic panorama of a certain time and place. Michigan’s Mystic Siva is the Holy Grail for such a sound. Musically, it’s a typical album for the time, not mature enough to be signed by a major label, and the production values are pure garage. Normal 1970 mix of psych, proto metal, some funk, and some punk. But the realism of this album just oozes from the grooves, a miasma of doom and gloom. Yep, the girlfriend just left and that dead end union job at the auto plant is starting to look like a very real place for a very real long time. Throw in some high school mysticism, and you have a world class recording from the vaults of America’s "fly over country”. It is rare to capture that mood, that hopelessness, that despair. Mystic Siva did all of this and more.

Personal collection
CD: 2014 World in Sound (Germany)

This is one those biggies, that consistently fetch multi-thousands in auction. It is very easy to understand why - the album is practically the definition of the private press psych hard rock sound that the music collector world craves. Originals are extremely scarce, and this is about as true a representation of the entire genre as can be. Pirates were quick into the water with this title, and that was my first exposure to the group back in the late 80s (muddy, crappy sound). Because of this, my appreciation of the album had been held back for years. I eventually received a decent sounding CD-R, and by that time the first World in Sound CD had fallen out of print, and the pirates were back. Fortunately World in Sound returned last year with a fine remaster of their original 2001 press, and so I snapped it up. The 2014 version, World in Sound assures us, is the best ever sound yet. The CD is indeed great and features some excellent liner notes as well. Of course, keep expectations in check regarding the sound. Best possible sound? Probably. But they can't perform magic - the originals are what they are, and it's that lo-fi sound that is a big part of the allure to begin with.

Lost Nation ~ USA ~ Detroit, Michigan

Paradise Lost (1970)

Detroit's Lost Nation recalls another band from nearby Ann Arbor: SRC. Especially at the time of Traveler's Tale. There's a distinct late psych vibe here (the dreamy vocals and harmonies are a pure giveaway). The driving guitars and Hammond Organ call out Deep Purple from their late 60s era, and the music definitely carries over into progressive rock territory with their sophisticated development of composition - especially over the longer tracks of which there are a few. It's a pity Lost Nation didn't catch on, as they certainly were one of the stronger groups to emerge from the American confused year of 1970. For my tastes, the best album on the Rare Earth label.

Ownership: 1970 Rare Earth (LP).

No reissues exist as I update this post (7/7/25)

1996 (acquired); 7/8/14 (review / new entry); 7/6/25