FM ~ Canada ~ Toronto, Ontario

Direct to Disc (1978)

Funny to watch my trajectory with FM, a band I couldn't be bothered with in my initial foray into progressive rock back in the 80s and 90s. Yes, I had heard all of their albums back in the day, since they were common then too. I had at least one friend insist that I should at least like the album I'm listening to right now, but I wasn't having any of it.

Now I'm a big fan of all their initial four albums. And, yes, Direct to Disc is certainly the most progressive oriented of the lot. There's also a strong electronic component here as well. Cameron Hawkins is completely unleashed here. Vocals are kept to a minimum, and there's no intent for securing a radio hit. In this way, I'm going to categorize the album different then their brethren.

You'd think an audiophile limited edition record, on a small label, would be worth serious dinero right? While certainly this title holds the most value, it's hardly a bank breaker. And for a limited edition, there sure are a lot of pressings out there. Making the premise faulty from the beginning. Ironically I found this for the cheapest price of them all, recently digging it out of a 25 cent bin. My entire FM LP collection cost me less than $5. 

Ownership: 1978 Labyrinth (LP). Gatefold. Acquired in 2026.

4/6/26 (review)

Surveillance (1979)

Musically Surveillance is very much the sound of the aforementioned Black Noise combined with City of Fear. Each album takes baby steps to more commercial realms, but they're proggers at heart, keeping the music interesting throughout. Suddenly I've become a late-in-life fan of FM.

Ownership: 1979 Passport Canada (LP). Acquired in 2023.

10/27/23 (review)

Black Noise (1978) 

Black Noise is an excellent example of proggy AOR music with fat sounding synthesizers, violin, and a strong rhythm section (Cameron Hawkins performs double duty on bass). Fits well in that unique Canadian niche of groups such as Saga, Dillinger, Klaatu, Avalon, etc... A couple of years ago I was pleasantly surprised by City of Fear, and so goes Black Noise. 

Ownership: 1978 Visa (LP). Acquired in 2023.

10/22/23 (review)

City of Fear (1980) 

This is just the kind of album I poo-pooed in my youth. Constantly pushed in my face as "prog", I tended to react negatively. Well it's not Yes, but it's definitely proggy. And over the years I've really been drawn to that late 70s "prog AOR" music. And these Canadians have a great thick sound. Many highlights can be found here. Very much in the Saga, Klaatu mold. 

Ownership: 1980 Passport (LP). Gatefold. Acquired in 2021.

11/29/21 (review)

4/6/26 (new entry)

The Spirit Of Christmas / Christmas ~ Canada ~ Toronto, Ontario

Lies To Live By (1974)

Lies To Live By was one of my earliest discoveries of non-English progressive rock. Found the LP at one of the Dallas record shows while still in college (likely the summer since I was in Lubbock otherwise, and I had intern earnings to spend). For whatever reason I have yet to document the album in any forum, so best to get on that.

I wasn't sure what to make of the music back in '86. It wasn't immediately likeable, at least for my tastes then. There was one exception, which I'll cover below. A couple of years later I traded it for something more to my liking, only to obtain it again (brand new as it turns out) in a collection buy in 1994. By then I had secured the CD, and wheeled and dealed a sweet return that I'm sure I still have today (did that a lot from '94-'96). A few years ago I paid handsomely for a super nice original, and that will be its resting place.

Today I hear the album as a bonafide progressive rock classic, so what was the original problem? For one, it does take a bit to get going. A1 and A3 are more in the folk rock vein, though A2 certainly introduces proggy concepts. Today I hear all three as excellent, as they are all subtlety progressive. It isn't until 'War Story' that The Spirit of Christmas gets into The Spirit of Progressive Rock. The way the track is structured, and the mellotron use, recalls the great Kestrel. The latter a band I wouldn't know for some years later. Not sure my brain was around any kind of AOR concepts at that time.

The major exception to my initial ennui was 'Factory'. This is Rush before Rush was Rush. Make sense? That is to say, what Rush became in the late 70s, not how they started. A mixture of hard rock and prog, the track moves in multiple directions with some dynamite guitar and tricky rhythms. A whole album in this style would have likely been labeled an all-time classic by just about everyone. Unfortunately it was the only highlight for me at the time, likely due to its heaviness.

This takes us to the 11:30 minute closer, for which I was expecting an epic closer. And didn't get it. From a flow perspective they probably should have flipped the two B-side songs for a stronger ending. I was younger and more impatient at age 21, so it wasn't what I was hoping. Today, knowing full well the contents throughout, I find it an excellent way to go out. It's more English sounding than North American, and demonstrates the maturity the band possessed at that time. And that was the end of the various incarnations of Christmas. Band leader Bob Bryden went in various directions after this, which he's taken the time to well document.

Ownership: 1974 Daffodil (LP). Gatefold. Reacquired in 2022. First acquired in 1986.

1986; 1995; 11/29/17; 2/23/26 (review)

Once owned both Christmas and Heritage. They were boots and I long sold them off. Need to revisit both at some point.

2/23/26 (new entry)

Rush ~ Canada ~ Toronto, Ontario

Rush were one of the first bands for me to get into, not surprising given my progressive rock disposition, even if I had no clue what that would have even meant in 1978. That year, Rush released Hemispheres and I bought it upon release. I must have listened to that album hundreds of times, pouring over the lyrics, and immersing myself in the instrumental 'La Villa Strangiato'. In addition, as was my pattern, I began to collect the back catalog, including 2112 (my school peers' favorite choice), Caress of Steel, and A Farewell to Kings. A buddy picked up the first two, but I wasn't too much into them back then. When Permanent Waves hit the shelves, I was there on Day 1. Loved it - still do. And a year later came Moving Pictures. Well now, hmmm, yea OK, I like it, kinda, well sort of, maybe not. Maybe. 

Over time, I've reconciled in a big way with Moving Pictures. As it turns out, that is also where I got off the Rush bus. I was entirely disgusted with Signals and even worse was Grace Under Pressure - both albums I've also long reconciled with. By Power Windows I didn't even know who Rush were anymore.

Vapor Trails (2002)

So here we go again with a late era Rush album that I seem to enjoy buying for a couple of bucks - and then panning it - calling more attention to my own (apparent) insanity than anything the band did to earn it. After the group went through some personal tragedies, Vapor Trails arrived six years after Test for Echo. From the beginning I thought I had the wrong disc in the changer. Neil Peart brings out his inner Keith Moon and the guitars from Alex Lifeson are truly hard rock. A very energetic opening for a band that was half asleep for the prior 15 years. Apparently this was their first album to not feature keyboards since their very early days. Essentially it was to be a back to the roots album. But is it? Not really. The music is Grace Under Pressure without the gloss or synthesizers. So it misses the magic of the 80s style and optimism. Vapor Trails is more like a cynical take on the hard rock genre of the 2000s. No By-Tor and the Snow Dog for you. I have no idea why Rush rejected prog rock vehemently back in the early 80s. It's as if they were offended to be called a prog band. At times I could hear Vapor Trails maybe going down the Voivod - The Outer Limits direction. But no such luck. It's not near that creative. Rather than back to the roots, it's more like back to being a dumb kid. Why do that? Why are intellectuals oftentimes embarrassed of their own brains?

I thought for certain, after the first few notes, that I would enjoy this more than Counterparts. But this one fell to the bottom tier of Rush albums for me. Looks like RYM agrees with my assessment.

Apparently many folks were critical of the original mix and that the 2013 remix is much better. If I find it, I'll report back here.

Source: 2002 Atlantic (CD)

8/16/25 (review)

2112 (1976)

When hearing 2112 for the first time all the way through in probably 25 years, I had something of a revelation. That this album may be my least favorite of their studio classic run all the way up through Grace Under Pressure. This or Fly By Night maybe. Which is a strange occurrence when you realize that Rush's progressive instincts were on full display here. The album starts fantastically, as the opening of the side long title track packs a wallop. It veers off from there though, and there are moments of songcraft that seem to go nowhere. Side 2 brings us back to Rush's short form composition abilities, not seen since the aforementioned Fly By Night. And they really aren't the best tunes Rush has to offer. Interesting to note they didn't try their hand at shorter songs again (as a focus) until Moving Pictures many years later. By no means am I suggesting 2112 isn't a very good album, one that I would still argue is mandatory for a complete Rush collection (and I currently own three formats myself). The competition is fierce, and when held in that light, 2112 pales.

Ownership: 

1976 Mercury (LP) Gatefold 

Mercury (CD) 80s pressing

1976 Mercury (MC)

1981 (acquired); 6/13/25 (review)

Counterparts (1993)

As the years rolled on, many of my music buddies were still hanging onto Rush, hoping against hope that they really were still a great band. I can remember the buzz around Counterparts in 1993. I was so hopelessly deep into the underground by then, Rush seemed like a blurry memory of my childhood. I could care less what they were up to, but a friend was thrilled. He proclaimed enthusiastically "It has a couple of good songs!" Down to that are we? A couple of good songs. That's something I've noticed with rabid fans of their favorite groups from their youth. Apologists to the core. Whether it be Yes, Genesis, Pink Floyd, Rush, what have you, as long as they're still breathing, playing live, and releasing new albums, all is OK. Even if those new albums aren't really anything special. So with that, I heard Counterparts for the first time recently. Hey you know what? It has a couple of good songs! lol. I will say it's miles better than Presto to my ears, which isn't saying much. Rush seems to have this irrational desire to be hip and relevant, when their fan base holds them to their past. Their live shows are filled with classics not new stuff. Why didn't they get that? Who knows, but Counterparts is heavier than they've been in a while, and the first couple of cuts are well done. Then off to plastic land they go and the fast forward button gets some use. The great track here (have to wait until #9) is the rare instrumental 'Leave That Thing Alone'. One wonders why they didn't do more of this? According to RYM, Counterparts is their best album between Power Windows and their swan song Clockwork Angels. That doesn't bode well for the others. Though same website has Counterparts better than their debut and Caress of Steel. That's insane.

Source: 1993 Atlantic (CD)

2/27/25 (review)

Hold Your Fire (1987)

Hard rock by reputation only. One wonders what the point of Rush's albums were during this era. They were far removed from their legacy and now their music sounded dated even by 80s standards. Dull. 

Source: 1987 Mercury (MC)

7/2/24 (review)
 

Caress of Steel (1975) 

This is a foundational album for me, having first purchased it in 1979 at the ripe old age of 14. 'The Necromancer' is one of those epics that shaped my musical tastes versus satisfying them. Brilliant in every way, I spent my youth looking for similar sounds. 'Bastille Day' makes for a great hard rock opener, and 'The Fountain of Lamneth' was their first attempt at a side longer. A bit awkward in places, it's still a fine piece. They would later nail the long form composition perfectly on Hemispheres. For the first time ever, I even heard some decent progressions on 'I Think I'm Going Bald', one of their worst early era tracks. After all these years, nostalgia pushed this to a +1 as well.

Ownership: 1976 Mercury (LP). Gatefold.

1979 (acquired); 10//06; 7/26/23 (review)

Grace Under Pressure (1984) 

---Mar 2005

This one came out after I’d pretty much written off the group altogether. So this is really the first time I’ve heard the album with any kind of objective presence. Definitely a continuation of where the band had been heading since Permanent Waves. A more mature, confident, and consistent work than Signals. ‘Distant Early Warning’ is the right kind of radio hit – one that sticks with you in a good way. The transformation from 70’s big idea prog to 80’s sophisticated slick rock was completed here. They would go too far on Power Windows and the long, painful journey to obsolescence had begun.

---7/26/23

I mentioned recently that Signals was the first Rush album for me not to buy real time and that Power Windows was their first for me to outright reject. But what about the one in between those two? I was now three years away from embracing anything new from Rush, but I have to admit that Grace Under Pressure sounded better back then to my ears than its predecessor. Seemed punchier and more melodic. Essentially it was here they had mastered what they had set out to do - release a commercially viable product for the 80s. However by 1984 I wasn't regressing back to the radio albums but was boldly going forward towards the Euro underground. It would be another 20 years before I bought Grace Under Pressure and heard it throughout. Last night I enjoyed a +1 listen and I now hold it at the same level as Moving Pictures. And it's the last excellent album by them, at least of the ones I've heard plus what I've read about those I have not.

Ownership: 

1984 Mercury (LP)

1984 Mercury (MC)

3//05 (acquired); 7/26/23 (review)

Exit...Stage Left (1981) 

Exit...Stage Left makes for a great compilation and setlist, but the music is exactly the same as the studio versions. I saw them live in Dallas in 1981, and even that potential nostalgia pull doesn't happen here. I didn't buy this album real time, and I didn't need to now either.

Source: 1981 Mercury (2xLP)

7/18/23 (review)

Presto (1989)

When I would first hear any Rush album from Power Windows on, I immediately had a dislike for them. And in fact, my recent revisit of Power Windows confirmed my initial findings, but I did think it was better than I originally thought. What about Presto? OMG no. This is just not for me. It's one thing for Rush to have shed all of their hard rock leanings, but the songwriting here is almost non-existent. It's as if The Police decided to release an album of their trademark sound, but without any melodies. No matter how much rationalization I bring to listening to this, I can't reconcile any of it. One wonders if anyone would have paid attention to albums like Presto if it didn't carry the Rush brand? 

Source: 1989 Mercury (LP)

7/16/23 (review)

  

Fly By Night (1975) 

As I stated on the debut, the key to enjoying the early Rush albums is to view them through a mid 70s Midwest hard rock lens, versus a full blown prog act. Now songs like 'By-Tor and the Snow Dog' sound incredible in that context. And a major reason why Rush built a cult audience early.

Ownership: 1977 Mercury (LP)

12/7/11 (acquired); 7/10/23 (review)

Power Windows (1985)

If Signals was the first Rush album for me to not acquire real time, then Power Windows was the first album for me to entirely reject. As with Saga's Behaviour, once you get past the shock of the middle 80s slick-as-a-butter-dish production, the music isn't so bad. The problem here is most of the songs sound exactly alike. I couldn't tell you one from the other even after a headphones listen. So yea, I still don't need this.

Source: 1985 Mercury Germany (CD)

6/22/23 (review)
 

Permanent Waves (1980)

One of those origin story albums for me. Bought this on the day of release, while still in high school (early high school at that). It never transcends the 4 stars I have on it, but I always expect it to. As I said on the Moving Pictures review, it's really amazing how they were able to tap into the future of music without letting go of their principles. I think they finally lost the plot by the middle 80s, but in 1980 this was some stellar music. Thoughtful hard rock with a commercial sensibility. Not their best album (I still go with the predecessor to this) but close to it.

Ownership: 

1980 Mercury (LP). Lyric insert

Mercury (CD). Remastered

1980 Mercury (MC)

1980 (acquired); 2//05; 9/22/14; 1/17/23 (review)

Rush (1974)

Like with many debut's, Rush's entrance into this world was much different than who they became and what they were known for. Though some do not like that I linked Ontario with the American Midwest for my RYM list, the fact remains that the landscape was very similar throughout the 70s. And Rush was very much part of that scene, playing clubs and small venues. Straight up hard rock was the best game in town, and interest in the band was nominal at best. Along with their management, they were able to scrape together just enough scratch to record and release both an album and a 45 on their own (both go for a small fortune today). One of those scarce copies managed to get to Cleveland's WMMS, and a female program director by the name of Donna Halper placed the song 'Working Man' into their regular rotation, figuring it would appeal to their blue collar fan base. Imagine that? She also was able to get the attention of Phonogram, based in Chicago, and the rest is history as they say.

Drummer John Rutsey was not just a tagalong member, but rather he was one of the two founders (along with Alex Lifeson) and was a major part of their original sound. He wanted to stay the course with the driving hard rock the band had established a small reputation for. But Lifeson and Geddy Lee (nee Weinrib) wanted to add prog rock elements and go a different direction. Along with Rutsey's health problems, it was decided a change was needed. Auditions were held, and they selected brainiac Neil Peart as their new drummer and lyric writer. The die was cast.

As a listener, it helps to put your mind into the 1974 landscape (which I did last night resulting in a +1 listen). Wet T-Shirt night and jammin' guitars was the name of the game. The cheaper the beer - the better. More for the merrier, that is to say. In that light, the great tracks here are opener 'Finding My Way', 'What You're Doing', and 'Before and After'. Best of all is the track that Ms. Halper thought would appeal to Cleveland's hard working industrial base: 'Working Man'. This song would remain as the sole representative the band took forward for their live set from their debut. If you don't go in expecting 2112 or Hemispheres, and you like hard rock, then there's a good chance to you might really enjoy Rush's debut.

Ownership: 1976 Mercury (LP)

12/7/11 (acquired); 8/14/22 (review)

Moving Pictures (1981)

On Moving Pictures, Rush were clearly moving away from their 70s prog rock roots and entering the 80s decade. In retrospect, they were pioneers, a band with the foresight and wisdom to predict the mood and whim of the fans. It's Side 1 that everyone knows from the album - 'Tom Sawyer', 'Red Barchetta', and 'Limelight' being instant radio hits. Ones you still hear to this day everywhere. A close study reveals a lot of invention and thought, wrapped around a commercial sensibility the band had lacked prior. The move to synthesizers proved to be prescient. "ygrek ygrek zed" (the Toronto airport of course) was the one track that took me in instantly, and recalled my fave 'La Villa Strangiato' from the beginning of my Rush journey. But in compact form, like everything else on the album  So in recent listens (twice in three years - amazing regularity!), it's been side 2 that requires my focus, as I rarely remember anything about it. Ironically it's the more progressive rock oriented side and has aged incredibly well for me.

I still have the ticket stub of the concert I saw in April 1981 at Reunion Arena in Dallas (funny that it was still a new arena then. Been out of service for over 18 years now), which adds more nostalgia points to the formula.

Ownership: 
1981 Mercury (LP) 

1997 Mercury (CD). Remastered.

1988 Mercury (MC)

2//81 (acquired); 2//05; 7/15/14; 12/20/18; 1/12/22 (review)

A Farewell to Kings (1977)

---Feb 2005

This is in the breadbasket of their classic era. Longest track, the eleven minute ‘Xanadu’, is the template for the classic Rush power prog sound. Many theme and rhythm changes without compromising any heaviness. ‘Closer to the Heart’ was one of the original Bic-lighter swaying songs. Who cares about the next two songs cause who could wait for ‘Cygnus X-1’, perhaps their greatest composition ever and heralded the arrival of Hemispheres, certainly their finest hour. What an ending!

---8/4/19

Rush's 5th studio album A Farewell to Kings represents core music from my adolescent years. Hard to imagine the needle moving much by this point. It's an excellent album that will always be, never to improve or to decline. 'Cygnus X-1' remains my favorite of a great set of tunes.

Ownership: Mercury Netherlands (LP). Gatefold with lyrics in the centerpiece. 

1979 (first acquired); 2//05 (review); 2/7/15; 8/4/19 (update) 

Also own and need to review: Hemispheres; Signals; Test for Echo

Owned previously: All the World's A Stage

8/22/20 (new entry)

Triumph ~ Canada ~ Toronto, Ontario

  

Allied Forces (1981)

OK, now we're getting to the heart of the matter. I would say their four albums from 1977 to 1981 are where I'm going to have the memory synapses firing off. I owned all four on LP, most purchased real time or shortly thereafter. As noted at the beginning of this post, I hadn't heard the debut prior though I thought I had. Looks like Allied Forces was released in September, so this would be the beginning of my junior year of high school. The tail end of my interest in this kind of commercial hard rock. Per their protocol, they start with a rather mundane try for a radio hit. Next is 'Magic Power'  which has more than a slight resemblance to Rush, a parallel one can make throughout their respective careers. Then the title track gets us to where we want to be with Triumph: Barn burning hard rock with a few more ideas than your garden variety bonehead act. Then back to boogie rock, which is always dull. Their proggy heritage comes out again on 'Fight the Good Fight', another Rush-like number, with a killer mid song riff. They continue to keep their brain switched on with 'Ordinary Man'. The album closes as it starts, a hedge bet to keep the label execs happy. 

Source: 1981 RCA (LP)

3/8/25 (review)

Never Surrender (1983)

On my review for their 1976 debut, I proposed that I might be in for a Triumph renaissance. Even their 1987 album Surveillance had me looking upwards (though not enough to keep, mind). This one I thought would grab a nostalgia pull since it was released at the second half of my senior year of high school, a bit late where such occurrences might happen. So did it? Sort of. Like with Rush, Triumph had started to become toothless as the 80s rolled on. They didn't go synth pop like their Canadian contemporaries, and stayed with power pop rock. Their prog heritage does show up here and there, but not enough for me to stick in a tape drawer. Still, I'm rating this higher than I had prior. 

Source: 1983 RCA (MC)

1/30/25 (review)

Surveillance (1987)

Keeping with my promise below, I'm starting my retrospective of Triumph. Eleven years from their debut, and after many years of radio success, what could Triumph possibly offer at this late date? Def Leppard apparently. Naw, it's better than that band's later works but it's essentially the same kind of juiced up commercial hard rock. Kind of a last hurrah from Canada's other finest trio (Rush being the other of course...). By 1987, Triumph were irrelevant, but at least they gave it a respectful try.

Source: 1987 MCA (LP)

10/14/24 (review)
 

Triumph (1976)

Triumph's debut is one of those odd albums where the beginning of each side is the dud track, and each song thereafter is better than the last. Somewhere along the line I thought I'd heard this debut back in the day but I hadn't. This album was never released in the US. Some of the songs were via the Rock & Roll Machine compilation (which I did hear), but not the album itself.

Even if I had heard it, my tastes have changed to really appreciating this type of hard rock. The inauspicious openers are party rockin' bar n' roll. No thanks. After that though, you'll hear influences such as Pink Floyd and Jimi Hendrix (Frank Marino probably). But perhaps most relevant is fellow Toronto heroes Rush. By the end of each side, Triumph shows a proggy heritage, with both 'Street Fighter' and 'The Blinding Light Show' being the highlights. Plenty of synthesizer on here too. It's time for me to revisit all of the Triumph works. I suspect my viewpoint will be far more favorable than it was in the 80s.

Ownership: 1976 Attic (LP). Blue label original. 

6/7/24 (review)

6/8/24 (new entry)

Saga ~ Canada ~ Toronto, Ontario

Silent Knight (1980)

Saga's third album demonstrates the gradual maturity of the band. The songwriting continues to improve and the playing is crisp and tight. The melodies tend to stick longer but they never let go of their progressive rock tendencies. 'Don't Be Late' was one of the group's signature tracks. This was to be Jim Gilmour's debut with Saga, and his keyboards were the final piece of the puzzle. Silent Knight didn't break Saga but their exposure continued to grow, playing live with other Canadian notables. Their next album World's Apart broke them out globally and they were to be one of the defining rock acts of the early 80s.

Ownership: 1980 Maze (LP). Lyric inner bag. 

1992 (first acquired); 6/28/24 (review)

Behaviour (1985)

By the time Behaviour was released I was an entrenched Saga fan. World's Apart and especially Heads or Tales were (and remain) very important albums in my collection. As mentioned many times here already, 1985 was a pivotal year for my musical development, and I consider it the time I began my deep dive into progressive rock. So when I saw the new Saga at the record store, I looked at it closely, and said no way. It just didn't feel right. 38 years later, I grabbed one for a buck at the Austin Record show to see if I had made a mistake all those years ago. Nope - it ended up sounding exactly what I thought it might sound like. My instincts proved correct. The production is completely overdone and Gilmour's keyboard tones are awful. And Negus sounds like he's drumming echoed pillows. Only Michael Sadler sounds the same, bringing his unique vocal style to what sounds like an Atari soundtrack. I found myself enjoying Side 2 more than the first - perhaps the shock factor had worn off by then. These guys could still write decent tunes even at this point, so it's a good album overall. Not enough to keep. And while I can be apologetic about it today, 38 years ago I would have abhorred it.

Source: 1985 Portrait (LP)

6/17/23 (review)

Saga (1978)

When I started crate digging again in earnest four years ago, I had my sights set on obtaining the first three Saga albums. Like just about everyone else, I discovered Saga on Worlds Apart. I tell that story on that entry, and I was a senior in high school when they broke big. That album along with the even better Heads or Tales sold gobs of copy, and are found in just about every record store. But the first three - similar to Styx in that way - sold enough to stay alive but weren't blockbusters. So they're far more elusive in the wilds (though not expensive if mail ordering).

Parallel to this is the music appreciation of these albums. I had been told - and I think many experienced this as well - that Saga started as a prog band. That they weren't near as commercial as they were to become. Well hot damn! I already really enjoyed Worlds Apart (more now than back then), so these must be magnificent. Ehh... no. Not no in that they aren't very good, but no in that they aren't any different. Which is the great storyline here. For 1978, Saga was predicting the future of music by at least four years. This isn't the Midwest pomp of Styx or Kansas, but rather the global AOR / MTV sound of 1982. Way ahead of their time, Saga were already using punchy guitar lines and synthesizers crammed into compact radio friendly tunes. And they were always good at adding a touch of sophistication to their compositions, going far beyond pandering to the masses. Which is their secret sauce and makes them so endearing all these years later. There's even a dash of Gentle Giant especially when you consider the counterpoint vocal lines. The verdict? This is exactly what I'd hoped to hear. When I first heard them in the late 80s I was mightily disappointed, mainly due to the poor expectation setting. Had I known that these early albums were very similar, I probably would have passed back then. But now I hear it as one more great album in their repertoire. 

Ownership: 1978 Polydor (LP). Lyric inner. 

3/25/23 (review)

Worlds Apart (1981)

Worlds Apart was my introduction to Saga, and I'd guess it was many American's first exposure to this fine band. I have so many fond memories of this album. I would go so far as to say that it defines the fall of 1982 for me, the first semester of my senior year in high school. Saga perfectly captured the era in which it lived. It's punchy and catchy, and the production and sound textures are early 80s all the way. Meanwhile they added just enough prog to keep it interesting for deep dive listeners like myself. I dubbed my LP copy onto cassette and used to play it in the car all the time - turned on many friends to Saga back in those days. I wonder if they remember that as well? Seriously doubt it. To reminisce on the car driving aspect, I listened to the CD around town while running errands. Good times. 

Ownership: 1981 Maze (LP); Portrait (CD)

9//82; 7/14/14; 2/12/22 (review)

House of Cards (2001)

Saga is one of those time-and-place bands for me. I'm not sure they would have registered at all had they not been part of a great time of my life. Worlds Apart is one of many albums that represents my senior year in high school. And Heads or Tales does the same for my freshmen year in college. Instincts told me to avoid Behaviour when it came around (1985), and it appears that was the right move (ed: confirmed in 2023). And that was it for me and Saga. A few years ago, I bought a CD collection that included Full Circle (1999). It was pretty good, but it didn't have the magic. It was still in the sell bin (gone now), and I thought to myself I should hear it one more time. Nope. It's just not there for me. For whatever reason I decided to pull for House of Cards anyway, since I saw it going for cheap. It's only two years later, how much better can it be? A lot. This is the Saga I know and love. They really recaptured the magic of 1981 to 1984. Maybe not every song is great as it was in the past, but mostly it has that staccato guitar, cheap synthesizer sound, and excellent melodies thing going on. And Michael Sadler sounds exactly the same. Made me feel 18 again. If you're like me and early 80s Saga is in your strike zone, and you forgot all about them since, this would be a good way to spend your loose change.

Ownership: 2001 Steamhammer (CD). Hardbound cover.

5/12/20 (review)

Other albums I own and need to review: Images at Twilight; Heads or Tales

5/12/20 (new entry)

Nucleus ~ Canada ~ Toronto, Ontario

Nucleus (1969)

---9/18/13

I'll be the first to admit I'm not the world's biggest "psych" fan. I absolutely adore psychedelic influences in my progressive rock, but actual psych rock tends to be too straight for me in most instances, and rarely lives up to the genre name. But when an album is truly psychedelic in both sound, and composition, then I take notice. Nucleus is that album. In fact, at times it's a bit too disjointed to get into. It's really a strange phenomena they have going here. They seem to be jamming, but in odd time signatures ---- for each member. Perhaps it's pure incompetence, and no one band member can keep up with the other. Maybe. But I doubt it. It sounds intentional to me. It's downright disorienting at times. Which, almost by definition, is psychedelic. There's some incredible Hammond organ and acid guitar on here, with all sorts of screamed, distant, and... well... melodic vocals. Damn, this album is just flat out cool honestly.

---12/22/22

That remains my understanding of this most unique album. Because of this creativity, I bumped it a +1 into the masterpiece category. As the years ago by, it's albums like this that standout as truly interesting. I listened to it twice in a row and I couldn't really pinpoint what they were doing. That's a plus. And the sound is delicious, all the right textures. A stellar album.

Ownership: 1969 Mainstream (LP)

Reissued on CD by Sundazed (11/28/25)

9/18/13 (acquired / review); 12/22/22 (update / new entry)

Moxy ~ Canada ~ Toronto, Ontario

Moxy (1975)

I had a good friend in college named Gary. He was your prototypical Odessa urban cowboy. 6 foot 4, thin as a rail, perfect male specimen in every way. But he was lost in this world. Despite looking like a model on a Marlboro billboard, he would bitch and moan to me constantly that he can't find girls to go out with. If the two of us would walk the mall together, the girls would put their eyes on him and practically stare at him, mesmerized they had just met someone from Hollywood. I would notice such things, and the girls made sure to divert their eyes from moi ('tis true, though I got the last laugh, for those who know my beautiful wife of 25 years). So it gives you an insight into the muddled mind of Grr (that's how he pronounced his name - Grr). As for music, since he was a good friend, he had to endure my tastes. At that time I was deep diving into prog, but also thrash metal, and a variety of underground rock. He primarily liked country (George Strait, that sort of thing) and rootsy rock like John Cougar Mellencamp. But he had a taste for hard rock. One day, while sitting in my apartment, Grr came over (as he often did, lived in the same complex in Lubbock) and we'd start chatting (about girls I'm sure) over my music. And then he blurts out of nowhere: "You know the best hard rock album ever is by a band called Moxy". Who??? Even a blind squirrel finds an acorn every once in awhile. Some friend had played it for him, and that's how he knew about it. I never saw that album in college, and more or less forgot about them. 

Until some years ago, a cheap copy came about online and I nabbed it, recalling the story above. I didn't take the time to absorb it properly. This really is a great Canadian hard rock album, with a little bit more thought than your average bonehead band. Apparently Tommy Bolin was hanging out in the studio nearby, and provided some guidance and licks to the proceedings. The album starts off a bit slow, but once it finds its groove, it's a heavy rocker for sure. It's not a stretch to say that Moxy could have been Rush's second album, had they continued along the path of their debut. Another easy +1 listen. Looks like my self-fulfilled prophecies came true. Imagine that.

Ownership: 1975 Polydor Canada (LP)

2008; 1/26/14 (acquired); 8/25/21 (review) 

9/26/22 (new entry)

Savage Steel ~ Canada ~ Toronto, Ontario

Yet another late 80s technical thrash band I was unfamiliar with. I'm beginning to wonder if I was there at all, with so many of these under the radar thrash bands cropping up in my world, some 30+ years after the fact. Savage Steel were a Toronto based group who released 2 albums before disappearing. As I sat down and prepared myself for the onslaught to commence, the first notes were a shock to the system. This didn't have the production values associated with 1988, but rather it sounded like a crude demo from 1982! Somewhat surprising given that this was released on a relatively large label (Frank Marino was one of their label mates). But once the ears adjusted, the music flowed perfectly from there. Everyone complains about the vocals, but to me that's the same thing as complaining about Italian prog rock vocals. The high pitched shrieks were "of the era" and "of the genre". Certainly more appealing than Sieges Even's original vocalist, and I enjoy his as well. It goes with the music. There's some great riffage on Do or Die, and the tracks go all over the place, per protocol. There are no surprises here or epic moments, but it's all solid fare with no weak spots either. Not the place to start if getting your feet wet in prog thrash, but definitely a good late inning pinch hitter.

Ownership: 1988 Maze (LP). Acquired in 2022

1/13/22 (review / new entry) 

Rob Carroll Trio ~ Canada ~ Toronto, Ontario

Rob Carroll Trio (1983)

Rob Carroll is a Toronto based guitarist who pulled together this unknown trio for one album, and who also put out a couple of solo albums. Joining Carroll on this venture is bassist David Piltch, who plays a prominent role, and drummer Mike McClelland. The music can be simply described as all instrumental light fusion, with driving bass, and electric jazz guitar. Carroll never wails or gets psychedelic, and stays in his lane for the most part. Overall a very good, atmospheric, pleasant, and constrained release. A nice one for quiet nights.

Ownership: 1983 RSM (LP)

No reissues as of 3/29/25.

1/5/22 (review / new entry)

Starchild ~ Canada ~ Toronto, Ontario

Children of the Stars (1978)

If you're a Canadian hard rock band in 1978, then who would you look to as a blueprint for success? Correct - Triumph and Rush. And that's exactly what Starchild has done here. This is the good stuff right here. All the quality hard rock stayed in while the rest was drained to the garbage disposal. The first two tracks demonstrate similarities to Triumph. 'Wizard Woman' sounds like it could have easily fit on Rush's Caress of Steel. Side 2 is even better, with a crisp Rush sound circa 2112 (side 2 of said album). The highlight for me is the subtly progressive 'Wooden Steaks and Mashed Potatoes' (I guess they had Sizzler's in Toronto back then too!). All in all, if you're looking for some hard rock with progressive styling, then Starchild is a must hear. I love stuff like this.

Ownership: 1978 Axe (LP)

No reissues exist as I update this post (3/9/25)

3/16/19 (review / new entry)

Terraced Garden ~ Canada ~ Toronto, Ontario

Melody & Menace (1982)

Not an easy band to describe, this Terraced Garden, hailing from Toronto, Ontario. Arriving very late in the progressive rock game, it's not readily apparent where the band is coming from. Especially on Melody & Menace. King Crimson is one obvious influence, especially when considering the Fripp sustained leads and the David Cross like violin. Flute and mellotron also call out an early 70s UK progressive rock heritage. But then there's the maudlin, but weirdly accented, vocals (a bit like the Canterbury bands actually) and compact song lengths, very clearly a product of the early 1980s. The album improves as it goes, and is definitely one of the progressive rock highlights of the era.

Ownership: 1982 private (LP) 

Hasn't been reissued in any format (as of 2/21/25).

1998 (first listen); 10/19/10; 1/31/16 (review / new entry); 2/8/21

Jackal ~ Canada ~ Toronto, Ontario

Awake (1973)

Jackal's sole album is a very fine hard rock album with bluesy guitar, choppy Hammond organ, and gritty soulful vocals. Like a more lethargic Micah, and anytime that fine band is in the reference column, then investigation should follow in hot pursuit. The album has a bit too many slow moments to be a classic, but when they're on, it is a fantastic experience to behold. Listen to tracks like 'At the Station' , 'For You', 'How Time Has Flown', 'Lost in the World', and the superb closing title track.

Ownership: 1994 The Labyrinth (CD). The Labyrinth was a joint effort between The Laser's Edge and Minotauro, who managed to get out four releases in the early 90s. Acquired in 2015.

5/9/15 (review / new entry); 9/4/23

Druckfarben ~ Canada ~ Toronto, Ontario

Second Sound (2014)

As if emboldened by their debut's comparisons to Dillinger, Druckfarben has gone even further to prove the point (was I the only one to do this? I wonder...). They have actually improved on their already impressive debut. Ed Bernard is the master of the stringed instrument, schooling us all on guitar, violin, viola, mandolin, banjo, dobro, and - "pint glass and incidentals" (lol). Vocalist Phil Naro sings like men used to in the 1970s and early 80s - with hairy chest and big balls. The idea was to pick up hot girls, something that I guess is now (sadly) sooooo passe. William Hare provides us our analog keyboard fix. Kansas (the good stuff - do I really need to qualify this comparison?) remains the altar at which Druckfarben worships at. And I'll be damned, if I don't hear some Rush creeping in here as well. Hey, they're Canadian, they can't help it. And, I for one, welcome the influence. If Druckfarben existed in 1976, they'd be topping the Billboard charts. As it stands, they are heroes to those who remember the best part of growing up in 1970s North America. Thanks for that, Druckfarben. Here's to hoping you go backwards in time from here.

Ownership: 2014 private (CD). Acquired in 2014.

9/16/14 (review)

Druckfarben (2011)

In the 1970s, there existed a band from Toronto called Dillinger, who seamlessly mixed progressive rock and commercial styled tunes to perfection. Druckfarben are the spiritual successor to the two Dillinger albums. It is the definition of the USA Midwest / Ontario Progressive Rock (1970's/early 80s) sound that I've painstakingly documented. Given that this is a 2011 release, the commercial aspects are less "FM ready", but rather geared to the discerning listener of finely crafted pop music. Musically, with its very strong Hammond organ and violin presence, Druckfarben are clearly aiming for the Point of Know Return. And having hindsight at their disposal, they only leave the good stuff in, while weeding out the cringe worthy material. Excellent new band with many ideas. Let's see where they go next.

Ownership: 2011 private (CD). Digipak. Acquired in 2013.

5/2/13 (review); 6/16/26

This was to be the end of the band. Vocalist Phil Naro sadly passed away in 2021. It doesn't appear the band has any plans to reunite.

5/2/13 (new entry)

Dillinger ~ Canada ~ Toronto, Ontario

Dillinger (1974)

In some ways, Dillinger's debut is darn near the perfect early 70s progressive hard rocker, with grungy organ and loud guitar, fronted by an extra-testosterone-laced lead vocalist. One can easily see this band being label mates of Spirit of Christmas (both were on Daffodil), though Dillinger were certainly not as ethereal. But there are a couple of downers – one is their rancid rendition of a Spirit track ('Nature's Way')  – and, gasp, the obligatory over long drum solo on the side long 'Live and Return'. Still, a great example of the Midwestern progressive sound. They were to improve on their second Don't Lie To The Band album.

Ownership: 1974 Daffodil (LP). I'm wondering why this album isn't known as A Lease of Love? That's what shows on the label. Acquired in 2022.

First copy: 1998 Unidisc (CD). Acquired in 2005.

2005; 8/31/13 (review); 1/27/23

Don't Lie To The Band (1976)

Don't Lie To The Band is the second and last album by Dillinger before evolving into The Hunt. The music is at the crossing path of unabashed FM radio hits and off-the-hinges radical complex progressive rock.

This title front loads all the bad tracks. In fact, the first ten minutes are pretty rough to be honest. It opens strong enough with a hard rockin' cover of Spooky Tooth's 'Two Time Love' from The Mirror' album. This is followed by a funky version of The Beatles great composition 'Taxman'. Downright blasphemous if you ask me. And finally we get the awful 'It's Not All Mine', a hideous ballad that represents everything that was wrong with FM radio in 1976. Well... isn't this exciting? I'm thinking sell bin at this point.

Enter nine and a half minute 'Munchkin Men' which introduces us to 35 minutes of great music. It's a completely different album. This track is a highlight and demonstrates to us the band is willing to pull out all the stops, recalling every great Midwestern album from Albatross to Yezda Urfa. Fat Hammond organ solos, shredding guitar, emotional vocals, wild flute, acoustic guitar, a thousand meter changes. It's a heart stopper to be sure. The next three tracks continue in this manner, three of which pass the six minute mark, and are all clinics in mixing the commercially accessible with an academic approach - and mixed with serious chops. It's what all of us underground heads, if we are entirely honest, wished Journey, Styx, or REO Speedwagon to have done in the late 70s.

---7/6/26

I did not realize until now that the last track was not on the album. It's a bonus cut taken from the b side of the 'Two Time Love' 45. It's very much like the second half of the album. The CD didn't mark it as a bonus nor did the booklet make mention of it. Looks like the label just threw it in. Glad they did though. Excellent addition!

Ownership: 

1976 Daffodil (LP). Gatefold. Acquired in 2019.

2001 Unidisc (CD). With one bonus track. The booklet shows the original album cover except it's now colored in. Acquired in 2006.

3//06; 7/6/11 (review); 7/6/26 (update)

7/6/11 (new entry)