The Free Design - Kites are Fun. 1967 USA-New York

I absolutely adore soft pop like this (with psych harmonies and overtones). This contains an unbelievable innocence that is hard to recreate when you're damaged goods. This is the real thing! They're singing about kites for crying out loud! And wait until you hear the tune they crafted about their 8 year old brother Woody, playing football, climbing trees, and his sundry goofs. If the sun isn't shining in your room after listening to this album, it's time to exorcise your death metal collection.

Ownership: LP: 1967 Project 3. Wonderful thick colorful gatefold, typical of the label. Online acquisition (2009)

CD: 2003 Light in the Attic. Chockful of liner notes, vintage photos, and two bonus tracks. This was my introduction to the album (2005).

12//05; 2009; 9/25/21 (new entry)

Kestrel. 1975 England

In listening to the CD this past week, I had a +1 listen. Which is pretty extraordinary, since it's already close to the very pinnacle. The older I get, the more music like this resonates with me. I had some notes over at RYM, but for some reason never published here. I tidied those up and here they are:

Kestrel's sole album contains some of the most beautiful songwriting ever committed to vinyl. The piano and mellotron are exemplary here. It's typically lumped in with the progressive rock scene, and it is somewhat - but only tangentially so. I can hear parallels with Fruupp's Modern Masquerades, Sebastian Hardie's Four Moments, and Dragon's Scented Gardens for the Blind - a certain sophisticated AOR sound that is very hard to describe, but you know it when you hear it! Yacht Prog? And this is the best of that lot. This is one of those albums that doesn't sound good on paper, but if you have any tolerance at all for a commercially oriented sound, then Kestrel is a must listen.

Ownership: CD: 2001 Victor (Japan); CD: 2015 Esoteric. For whatever reason, Kestrel's reissues have been the sole provenance of Japan (probably license related). My first copy was the 1989 CD that didn't even have the backplate! The 2001 version is a mini-LP, though as far as these things go, the packaging is pretty dull (though I do admit to liking the goofy cover). The Esoteric CD is a recent acquisition, and is the definitive reissue. I've been curious about the bonus tracks since Belle Antique's 2013 reissue, but advance word suggested it wasn't worth the extra splurge. Having heard them, I would have to agree, though it is great to have two new tracks to digest (both excellent). So when the Esoteric CD became available at a discount, it was too tempting to pass up. Especially when considering the thorough liner notes in addition to the bonus. And while Esoteric has a reputation - at least in recent years - of screwing up the mastering, I have to say the Kestrel sounded really great to my ears. Best I've heard to date. I've never heard the original, and probably never will, so I don't have much to compare it to. I'm keeping the mini as well, as they don't take up much space, and it's a favorite album.

2/28/11 (RYM); 5/10/20 (new entry)

CMU - Space Cabaret. 1973 England

Space Cabaret is very different from its predecessor. And, truth be told, this sophomore effort is like two separate albums. All of Side 1 was written by newcomer Richard Joseph. For years I had rejected this side as being somewhat average. In reflection I've warmed up to it quite a bit. It's a type of psychedelic folk. But with Larraine Odell's celestial voice, and trippy effects throughout, it actually works quite well. So one will hear 5 quality well-written psych-folk-pop tunes. But it's so very different from what is to follow.

Side 2 opens with 'Dreams', and is the only composition written by guitarist Ian Hamlett. A brilliant track, that is highly progressive with a dark undertone. They should have let him write more. Here's where Larraine Odell shows she is a great female singer - in the big leagues with Linda Hoyle.

But the real monster of a song is the closer 'Lightshine'. And sure enough, it is the only composition written by Leary Hasson. You may recognize the name Hasson, as he's the grand master of Marsupilami, one of my all time favorite bands. He joined CMU only for Space Cabaret, and sadly only wrote this one song for them. This could have been on Marsupilami's 3rd mythical album! Hasson may be one of the best progressive rock songwriters ever. It is absolutely brilliant in every way, from the construction of the composition, to the type of sounds generated (fuzz guitar, crunchy organ). I had goosebumps and hair raising moments throughout the whole thing. The moment when Odell first begins to sing is something really special. I just falloff the chair every time in amazement. There are over 10 movements here, each segue's brilliantly into the other. It starts in more folky realms (think side 1) and ends in the finest Canterbury tradition with pounding fuzz keyboards and searing electric guitars. At age 54, I'm willing to say this one song is in my Top 5 ever. Honestly, one is left speechless. I fear it's a track no one pays attention to, as it's so much different from the rest of the album. Unlike anything really...

So what happened to the Odell couple? They went onto to form one of London's most famous early 1980's disco groups in Shakatak (pronounced Shack Attack). There's plenty of vintage YouTube videos of the band out there for you to check out (be sure to find the vintage ones from the 1980s, not the modern renditions). If you do check out the videos you may be asking who is that 80's big-haired blond girl? No, that's not Larraine Odell (who doesn't appear to actually have been in the group long, though Roger is indeed the drummer), but rather Jill Saward - of ... ready for this? Fusion Orchestra (another favorite band)!!! Jeesh, who knew?

As for Leary Hasson, this is the last known written composition from him. Where did he get the inspiration? He was so far ahead of the pack, and yet no one knows who he is. Completely forgotten. One day that discovery will be made. One day.

Ownership: CD: 1993 See For Miles. The above also includes all of their earlier album Open Spaces (1971) save one track. Includes full liner notes as well. Excellent CD.

Micah - I'm Only One Man. 1971 USA-New York

Micah started in Terre Haute, Indiana before relocating to upstate New York. I'm Only One Man is head and shoulders above most of these hard rock / psych US private pressings from 1971. Long runs of guitar and organ solos, with a great vibe throughout. I love the way the Hammond is played in a choppy manner, with the wah wah guitar solos layered on top. Incredible bluesy soulful vocals. Just nonstop (I mean nonstop) kickass music, the way you want every single one of these type of obscure private albums to sound, but sadly they rarely do. Only bummer is that Side 2 is only 11 minutes long. For me, Micah's music is the definition of BAD ASS. They exude early 70's coolness. Micah are the perfect realization of Uriah Heep now that I think about it. Or Gregg Rolie era Santana. About as good as it gets for the style.

Ownership: CD: 2013 Shadoks (Germany). The original LP is one of the rarest American private pressings. I had never even heard of it until my buddy Heavyrock played his original for me about 7 years ago. So unless you have a nice trust fund going, you'll probably want to fork over for one of the Shadoks reissues. I opted for the CD, which has just recently been released. It features plenty of historical notes, a recent interview, and photos to supplement this issue. It's unfortunately a rather short album (< 30 minutes) and there are no bonus tracks. Don't let that deter you though, as it's 29 minutes of excellence with no wasted moments.

11/19/17; 8/22/21 

Moving Gelatine Plates - The World of Genius Hans. 1972 France

Everything I love about the debut is magnified and enhanced on their second and final 70s album. They cut the excess (lengthy solos, including the worthless drum bit) while increasing the complexity, the instrumentation, as well as the melodic content. Regarding the latter, an incredible 450 themes were incorporated into these compositions. The end result is nothing short of astounding. I often read reviews where the opening 14 minute title track is mind blowing, and the remainder trails off. I agree with the assessment of the first track. However the album actually improves from there. The shorter tracks allow even more ideas per second to flow through. In fact, I'd say the two best tracks are the ones they chose for a single ('Funny Doll', 'Cauchemar') which I've included in the images above. MGP can do no wrong it seems. Overall, I find the album highly memorable long after the music has stopped. Considering the complexity, that's an extraordinary accomplishment. Most of these complex instrumental albums, especially in modern times, are cold and clinical. Moving Gelatine Plates proves that does not have to be the case, and should be held up as a role model for future generations.

Most everyone has a favorite album. This is mine. A perfect 100 out of a 100.

Depending on my mood, I could also say the cover is my all-time favorite. It's completely captivating, and appeals to my sense of humor.

Ownership: LP: 1972 CBS. Single sleeve. Online acquisition from a dealer in France (1999).

CD: 1993 Musea. Jewel case. Includes a full history. As bonus tracks they complete the Moving (1980) album that they started on the first album. 

1994 (first listen); 1/24/13 (review/new entry)

Eskaton - 4 Visions. 1979 France

For my tastes, 4 Visions represents the absolute pinnacle of the Zeuhl style of music. While no doubt greatly influenced by the almighty Magma, Eskaton are really an entirely different branch off this massive tree. Those who call it a Magma clone are clearly scratching at the surface. For one, they sing in French rather than the made-up Germanic Kobian language. Secondly all the vocals are sung by two females, often in harmony or counterpoint. Thirdly, the band plays in hyper-drive throughout. Magma are experts at building up climaxes. Eskaton are experts at releasing climaxes... for the entire album! And finally, like all Zeuhl bassists, Andre Bernardi is a beast - but his style isn't the pound your senses into oblivion like Top or Paganotti, but rather one that shreds like a thrash metal act. Get your air bass guitar out when listening, you're going to need it. While all 4 compositions are brilliant, the middle two 'Attente' and 'Ecoute' possess truly sublime melodic moments that will raise the hair on the back of your neck. 4 Visions is one 40+ minute peak experience, and truly in my all-time Top 10. I would give this a 16 on Gnosis if they'd let me.

Ownership: CD: 1995 APM (Sweden). Jewel case release with one bonus track.

LP: 2013 Soleil Zeuhl. Single sleeve. Copy #67/500.

I first heard this album back in 1992 when a friend dubbed his cassette for me. I was absolutely floored by the music. It had been one of the greatest things I'd ever heard to that point (and still is frankly). But the cassette was extinct, and I wasn't about to kill myself looking for a manufactured cassette. The dub would have to do. So when the Swedish label APM was the first market with a CD, I bought one faster than the speed of light. Everything about the CD was better: The sound, the cover - it was just a magnificent reissue. In the 1990's APM was at the top of the best reissue (and contemporary) labels in the world. But sadly they went out of business in 1997. And, not surprisingly, 4 Visions sold out and became highly desirable again. Enter Soleil Zeuhl, one of today's better reissue labels. They had been successful in reissuing the other two Eskaton albums, and demand was building for a new print of 4 Visions, so they put a new one out on the market. The APM version had one bonus track, and the Soleil Zeuhl release features 4 bonus tracks - and different from the APM one. For copyright reasons, Soleil Zeuhl used different artwork (as seen here), which has proven to be somewhat controversial. Many fans wanted the "blue" APM cover. As such, this had given Soleil Zeuhl pause to reissue this one on LP, but they went forward with it anyway (with the original cover), and now it's rare too! I bought mine upon release.

9/19/92 (first listen); 1995; 2009; 11/5/12 (review / new entry); 7/26/24

J.E.T. - Fede, Speranza, Carità. 1972 Italy

There are few albums that open as strong as this one. The 11 minute title track is right there with the absolute best of the original Italian progressive rock movement - say primo Il Balletto di Bronzo. FAY DAY, SPA RAN ZA, CA REE TA leads right into the first couple of incredible minutes of 'Il Prete e il Peccatore' and then… ugh… the album breaks into a more typical Italian singer songwriter style. Well not exactly as dire as that, but the intensity of the first 13 minutes is never regained. This album usually gets listed as a disappointment by many because of this trend, but I think a lot of that has to do with the expectations that were delivered early on. I've always been partial to the dramatic 'Sinfonia Per un Re' and it sounds better now than ever (love those fuzz guitar solos and Hammond washes). And closer 'Sfogo' is a good - fun - energetic instrumental with wordless voices piece. Oh.............. but that first track - been listening to it for over 20 years and it still blows me away!!

Ownership: CD: 2005 BMG (Japan); LP: 1993 Si-Wan (Korea). The album was originally released with a die-cut textured chalice cover. The chalice itself is a pretty thick cardboard piece (I have a friend who owns a nice original copy). Missing from some online discographies is the next issue, which was both a CD and LP on the Crime label (each 1988 Japan). It is this 1988 issue that you'll commonly see two extra tracks for Side 2. These two tracks are both taken from a rare 45 and not on the original LP. I once owned this Japan CD, and can confirm. Also - the original LP does not list the final track 'Sfogo' on the back cover even though it's listed clearly on the label. The Japan LP from 1988 came with a perforated chalice, that you could detach yourself and paste into the gatefold. Obviously not the best option and doesn't truly replicate the original, but an interesting idea all the same. The 1993 LP from Si-Wan (Korea) features the original gimmix cover, but the cover is smooth and the chalice is a thin sliver not reminiscent of the original. It isn't until 2005 that the original LP is finally duplicated exactly with the thick chalice insert - in the mini-LP CD format from BMG (Strange Days), which I own as well.

Flamengo - Kuře v Hodinkách. 1972 Czech Republic

This is an extraordinary album given the time and place. Flamengo's music is similar to some early 70's UK underground bands such as Raw Material, Tonton Macoute, Web's I Spider, and especially Diabolus. It would be hard to imagine that Flamengo would know any of these albums, and thus came to a similar musical conclusion through a completely different lens. Sax, flute, guitar and organ are the primary solo instruments. Incredible songwriting with memorable melodies, that does remind the listener of the early 70s Italian scene (PFM, Celeste, QVL). Passionately sung in Czech, and I wouldn't want to hear it any other way. Also worth noting is the awesome production, which sounds like it was recorded in Germany or England. Too bad the oppressive governments of Eastern Europe didn't allow more artistic freedom in the early 70s. Flamengo's sole album gives us perhaps the best example of what could have been.

Ownership: CD: 2012 Supraphon; Of all their reissues, this CD trumps them all. What a magnificent package. It comes in a tri-fold digipak (with original album cover art) that fits comfortably into a cardboard sleeve. This version features 3 bonus tracks and all the Czech lyrics. The sound of the album itself is even better than the 1990 disc. I cannot stress enough how great the original production was for this album. It is truly up to Western European standards.

LP: 1972 Supraphon. Recent online acquisition (2019), and comes in a flimsy single sleeve. It's simply a trophy for me. The CD remains the primary.

6/3/12 (review / new entry); 4/7/14 (update);