Bluestone Company ~ Japan

Supernatural Delight (2008)

When I'm out digging in the wilds, I'm always on the lookout for obscure new tunes to check out. When I found this one, I figured it was just another one of those dime-a-dozen blues CDs that are everywhere, and generally worthless. I was intrigued by the title though, and looking at the back cover it seemed like it might be psychedelic too. It was only 25 cents, what do I have to lose? As we joke at "The Bins", our collective gravestones will say "but it was only 25 cents".

I had no idea the band was Japanese until I put the CD in the changer and took a closer look at the booklet. After a brief synth introduction, tracks 1), 2), and 3) will proceed to blow your head off. Blues rock? Southern rock? Not on your life. Not even primo Allman Brothers. It sounds more like Ozric Ed Wynne got stuck in Tokyo and decided to jam with Happy Family and Kenso in between trips to Disk Union. It's been ages since I was this exhilarated about something post-2000. At least from a band I had no clue who they were.

It's not until 4) that, OK yes, it is a blues rock album after all. The star of the show is clearly guitarist Toshihiro Sumitomo, who plays a very raw and intense electric guitar throughout. It's exactly what I wanted from Stevie Ray Vaughan all those years ago. But Vaughan stuck closer to Texas Blues. Sumitomo is more like Blue Cheer Blues. His background is from a blues band called The Savoy Truffle. Another new name. 5) slows things down until Sumitomo gets bored and starts wailing about halfway through. 'Colonel Panic' is a cover song from an American jazz fusion band known as Jing Chi. Never heard of them either. 7) is another heavy blues song in the same tradition as 4). 8) is largely blues rock but there's some trippy trumpet at the end adding some much needed spice.

9) is none other than The Meters' 'Cissy Strut'. Heavy blues style and gets really psychy flipped out towards the end reminding me quite a bit of Frank Marino's later live works. The closer 'Desert Blues' really does conjure up the Arizona landscape, and Sumitomo provides the ethereal electric guitar to create the right aura.

Get this one.

Ownership: 2008 Grooveyard (CD). Booklet with recording details and a band photo. My copy is signed by all four members no less. Acquired in 2026.

6/23/26 (review)

Bluestone Company has two more albums with Texas blueser Chris Duarte. 

6/23/26 (new entry)

Robin Trower ~ England

Bridge of Sighs (1974)

One of the greatest albums of all time. And easily my favorite Robin Trower album, and I like them all! At least his 1970s and early 80s output. And, for once, I seem to be in the majority here. The vast majority. Everyone I talk with agrees that Bridge of Sighs is Trower's best. Most agree it's a masterpiece. No matter your religion, race, sex, politics, age; No matter if you're a deep diving underground head, or a novice just getting started, Bridge of Sighs is the one. 

There's not a single weak track either. The title song gives me goosebumps every time I hear those first guitar notes over the chimes. What a tone he's achieved here. 'Day of the Eagle' is a crushing opener. B1 and the closer are also FM radio classics. Even the deep cuts like A3, A4, B2, and B3 deliver the goods.

I haven't done a good job of documenting my Trower collection, and considering I own all his classics on a CD set, it will just be a matter of time. But I'm glad to have covered this one early on.

The CD bonus tracks (2004 edition) come from a spirited performance, and well worth hearing for the rawness of the guitars and the energy level.

Ownership:

1974 Chrysalis Germany (LP). Acquired in 2021.

2004 Chrysalis (CD). Booklet with history. 5 live bonus tracks from 5/29/74, all from this album. Acquired in 2004.

1974 Chrysalis (MC). Green Ampex hard shell and tape. Old school. Acquired in 2024.

2019 Chrysalis (CD). Box set titled The Studio Albums 1973-1983. No bonus tracks.

First copy: 1985 Chrysalis (LP). Acquired in 1985.

No surprise I own so many copies. And if and when I find the 8 track and reel to reel copies out in the wilds, I'll keep them as well. Count on it.

1985; 2004; 8/11/12; 8/8/19; 6/17/26 (review)

 

Passion (1987) 

Hard to pass up this striking cover. A few years ago I completed my journey through the Chrysalis box set of Trower, which ended two albums prior to this (though I need to relisten and document most of them). Free from commercial constraints I would have expected Trower to let loose here. Instead he couldn't give up the dream. As usual, he recruited an excellent vocalist, but the music itself is mid to late 80s blandola with a slick production. Once again his guitar saves the day, especially on the instrumental 'Night'. He should have just recorded a whole album like that. If he had, this wouldn't be a $5 record with nearly 100 for sale at any one time. The music doesn't match the title nor the cover. Bummer.

Source: 1987 GNP Crescendo (LP)

4/10/24 (review)
 

Twice Removed from Yesterday (1973)

In my notes for Victims of the Fury - written late last year mind you - I stated: "If there's an artist I need an "Original Album Series" CD set of, it's Robin Trower. He's just one of those guys I pretty much ignored throughout my life. And for no good reason, especially considering how much I love Bridge of Sighs, and have so for over 30 years." As if reissue labels read my blog, lo and behold that event happened earlier this year! And I have now secured said box set, and licking my chops as to what I will discover. It will be a slow process, but it has begun. And where to begin? At the beginning of course.

Twice Removed from Yesterday is of course that album, and it's my loss that I hadn't heard it until I'm in my mid 50s, yet I was completely familiar with the artist going back to when I was 15 years of age. James Dewar has one of the all-time great smooth blues rock voices, and of course Trower brings with him the ghost of Jimi Hendrix, one of the rare guitarists to continue down that path as late as 1973. Every track here is a gem and a joy to listen to.

Ownership: 2019 Chrysalis (CD). Box set titled The Studio Albums 1973-1983. The box set is pretty basic, with no liner notes - a big missed opportunity right there. However you get ten studio albums of Trower, the last two with different line-ups. They all come in simple slip covers with original artwork. Acquired in 2019.

7/21/19 (review)

Victims of the Fury (1980)

Robin Trower finally records his successor to Bridge of Sighs. Unfortunately at a time when no one was interested in heavy psychedelic oriented blues rock. There's not a hint of 1980 here. Despite that, Victims of Fury did reasonably well in its day, perhaps better with the modern metal audiences looking for more raw - and less polish. Overall this is a great record with 'The Ring' being the highlight of a strong set of tunes. If there's an artist I need an "Original Album Series" CD set of, it's Robin Trower. He's just one of those guys I pretty much ignored throughout my life. And for no good reason, especially considering how much I love Bridge of Sighs, and have so for over 30 years. 

Ownership: 2019 Chrysalis (CD). Box set titled The Studio Albums 1973-1983.

First copy: 1980 Chrysalis (LP). Acquired in 2015.

11/7/15; 11/21/18 (review); 9/30/19

Also own: For Earth Below; Long Misty Days; In City Dreams; Caravan To Midnight; B.L.T.; Truce; Back It Up

7/21/19 (new entry)

The Rolling Stones ~ England

Their Satanic Majesties Request (1967) 

I'd written about many of the Stones albums (see below), most of them unflattering, and yet I had managed to skip over my favorite one - by far. There are a couple of their classics that I have yet to revisit in modern times, so we'll see if this remains my favorite in the end (probably).

Even though The Rolling Stones are a 60s band in heritage, I don't tend to think of them in that way. They didn't embrace the psychedelic, not like their peers the Beatles did. The exception is, of course, the album I'm listening to now. Many suggest they were just ripping off Sgt. Pepper's, and if so, they most certainly outdid them as far as psychedelics go. Personally I'm of the mind that Magical Mystery Tour captured the Beatles' psychedelic excursions far better than Pepper's ever did. I had fully expected to see this album bolded with a very high rating on RYM, but alas that's not the case. And that's most surely because it veers way off their usual sound. For psych heads, it could very well finish first among them all. But for your average Stones fan, this album is a mere curiosity, even an annoyance.

Some of these tracks get waaaaaaay the heck out there, far more than most albums that have the psychedelic tag next to them. They can be as zonked out as the top classics in the genre. It would have been interesting to see the Stones continue in this manner for a few albums, or even embraced progressive rock. I would have been a big fan in that parallel universe! But instead they pivoted to "roots rock" on their first truly high rated album Beggars Banquet. It wasn't that long ago I heard that album, and I found it appalling (see below). But that's what their audience wanted to hear, and quite honestly, I'm sure that's what they wanted to play. Fair enough, that's who they are, and they made a fortune doing it. Can't argue with that. 

Ownership:

1967 London (LP). Lenticular gatefold. Acquired in 2021.

ABKCO (CD). Mid to late 90's pressing. Booklet replicates the psychedelic inner gatefold. Acquired in 2026.

9/5/21; 2/2/26 (review)

Sticky Fingers (1971)

Continuing on with my 50 cent CD finds is The Rolling Stones highest rated album Sticky Fingers. RYM also has it as #13 for all of 1971, arguably rock's greatest year of innovation. There are four bonafide hits to be found here, so it's one of those albums you already know even if you don't think you do. I'd heard it in full back in college, but the truth remains, I'm just not a Stones fan, and this is not the album that will sway that opinion. 'Sway' is a track here too, hmmm... As is often the case with The Rolling Stones, their charted singles are usually the best tracks. 'Brown Sugar' assuredly is the most famous cut here, and it's one of my least favorites - a track I've had to endure since the first day I dialed into the FM radio. 'Wild Horses' is a nice ballad, not extraordinary though. Hardly 'Stairway to Heaven' but for a band with an attitude like the Stones it does provide nice contrast. 'Bitch' has a good riff and is my second favorite song on the album. The gem of the album though is 'Can't You Here Me Knocking' that is not only the best composition, but they get into a rare jazzy jam while at it. Really the Stones should have done more of that (see 'Time Waits For No One' at the bottom of this post). They certainly had talent, but they kept everything compact and tight for the most part. I remember recording this song from the radio when I was 12. I had no idea it was the Stones until years later. I liked it then, and I like even more now. As for the other six songs here, you can keep them. More of the standard blues to country blues that I suppose their fans ate up at the time, but retrospective reviews aren't as kind.

Source: Rolling Stones Records (CD). Late 80s pressing

3/4/25 (review)

Beggars Banquet (1968)

One of their highest rated albums (4th according to RYM), I haven't the slightest idea why that would be the case. Mostly this is blues, and really country blues. Not where I want to be with The Rolling Stones. Most of their albums have a hit or two, and in this case they are 'Sympathy for the Devil' and 'Street Fighting Man'. Those are my fave two from this set as well, and they're not that hot to begin with. At this point in my Rolling Stones journey, this is the bottom of the stack.

Source: 2002 ABKCO (SACD). Also had the LP once from RT but sold it off before digesting the contents.

2/14/25 (review)

Between the Buttons (1967)

This is the second copy I've had float in here. The first was from a collection buy at the end of 2019. It wasn't in very good shape, so when this much nicer LP showed up in RT's collection, I pulled it aside for another listen. My opinion remains unchanged. I find this album fairly static and boring, and the radio hits here are more annoying than pleasurable.

Source: 1967 London (LP)

12/31/21 (review)

Black and Blue (1976)

Not a big fan of the Stones as it is, but I figured something from this period would have no chance. Boy was I right. This was worse than I expected, and that is a very low bar. Talk about a "throw in" album. Contractual obligation and all that. I guess the guitar audition aspect is its only redeeming factor. My least favorite along with Beggars Banquet.

Source: 1976 Rolling Stones (LP)

7/17/21 (review)

Goats Head Soup (1973)

Earlier recording and a little bit better than the above. Still there's nothing here that I would want to return to. Side 1 is average and Side 2 is disappointing. The big hit here is the ballad 'Angie', a song I could go a lifetime without hearing again.

Source: 1973 Rolling Stones (LP)

7/18/21 (review)

Out of Our Heads (1965)

This is clearly their transition album from Chicago blues to psychedelic and hard rock. Here's where you'll find 'Satisfaction' (on album), as well as 'The Last Time'. The Jagger / Richards originals are much better than the covers. It seems they weren't quite ready to take off the training wheels just yet.

Former ownership: London (LP). 70's pressing. Acquired in 2021. Downsized in 2026.

4/12/21 (review)

Emotional Rescue (1980)

This is the second copy of this album I've found in the last couple of years. I forced myself to listen to it all the way through. I don't remember one thing about it. That was last night. Less than 12 hours ago. I can't imagine the allure of this era of the band. As I said about The Who, the albums by the legendary 60s bands coming into the 80s were rarely of note.

Source: 1980 Rolling Stones (LP)

1/21/21 (review)

The Rolling Stones, Now! (1965)

I've been going soft on these early titles, stating that they mostly fall out of my interest area, but I can still appreciate what they're doing. But on this, their 3rd release, I couldn't find much to hold onto. Mostly it's old-timey blues and rock-n-roll. They were still in the midst of the Hit Parade, and hadn't found their unique sound yet. All the same, this isn't for me.

Source: 1965 London stereo (LP)

12/28/20 (review)

Jumpin' Jack Flash / Child of the Moon (1968)

The a) side is almost as ubiquitous as 'Satisfaction'. I'm just not as keen on it. It's 'Child of the Moon' that's the money piece here, at least for us psych fans. I'd never heard it until now. It's not awesome by the way, but pretty good on the whole. The final conclusion though tells me I can live without. 

Source: 1968 London (SP)

12/20/20 (review)

(I Can't Get No) Satisfaction / The Under Assistant West Coast Promotion Man (1965)

If you don't know the A) side you are then a very young person, otherwise an impossible situation. And it really is the draw here. The flip is bluesy rock with harmonica, nothing special

Source: London (SP). Later 60s pressing

12/20/20 (review)

12 x 5 (1964)

Yea, this is too early for me. At this point the Stones are not really the Stones. They're finding their way, playing music that was popular in its day. Blues rock, pop, RnB, mod, even rockabilly! A respectful effort, but out of my comfort zone. 

Source: 1964 London (LP). This was a unique pressing that I added to Discogs and since sold.

12/5/20 (review). I just realized the day I heard this. How crazy is that?

Aftermath (1966)

OK, so this is where 'Paint it Black' comes from. If I were to name my favorite Stones song, this would probably be it. 'Under My Thumb' also appears here. Usually that track ends up being covered somewhere, and never that great.  But this version has an odd jazzy feel that I like. But mostly the album is blues rock, and for certain ahead of its time, including the eleven and a half minute closer.

Ownership: 1966 London mono (LP). Acquired in 2020.

11/29/20 (review)

It's Only Rock N' Roll (1974)

Well I'm sure it comes as no surprise that I have very little use for the Stones. I do need to spend a bit more time with their 60s work, but to date, I can't really stomach any of their 70s / 80s albums. And this is no exception. However.... there is one great track that I couldn't believe was the Rolling Stones. A jazz rock number called 'Time Waits For No One'. A great six and a half minutes buried in the middle of this teenage wasteland. All these years, and I never once heard this on the radio. 

Source: 1974 Rolling Stones (LP)

10/9/20 (review)

I'll keep reviewing them as they come in, though some of the later titles will get skipped over.

2/16/25 (new entry)

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

The Allman Brothers Band (1969)

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

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

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

Duane Allman - An Anthology (1972)

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

Source: 1972 Capricorn (2xLP)

7/9/21 (review)

Duane & Greg Allman - Allman (1968 / 1972) 

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

Source: 1972 Bold (LP)

8/19/21 (review)

Also own: At Fillmore East; Eat a Peach

1/5/26 (new entry)

Fleetwood Mac ~ England

Jumping At Shadows (1969 / 1985)

This archival concert from Boston is taken from the Then Play On tour with excellent sound. The first half is very good and energetic hard rock with raw guitar from Peter Green and crew. It bogs down into straight blues by the end. Nothing at all here would indicate this band would release Rumours one day.

Source: 1985 Varrick (LP)

9/11/24 (review)

Then Play On (1969 / 1970)

It's always interesting to hear a band's recognized classic album this late in the game. For most folks, Fleetwood Mac is associated with Stevie Nicks and their two mid 70s albums Fleetwood Mac and Rumours. I've spoken of my history with those albums already, and to this day, I still feel that I'm a bit young to appreciate them. Thrifting has given me the opportunity to hear some of their pre Stevie works such as Mystery to Me, Penguin, and Kiln House, each worse than the last. The curve ball here is Bare Trees which has some interesting, and very good, material on it. Again, I've covered off on most of these already.

But what about Then Play On? For deep divers - and for younger folks coming along way later than me - Then Play On is their best album. It has no chance of ever outranking Rumours, because iconic albums such as that get a free pass on analytical criticism, for a variety of reasons including nostalgic remembrance and group think. Problem is, because of its underground "cool" status, finding it on LP isn't easy like the others. 

My initial reaction wasn't overly positive. 'Coming Your Way' is a great hard rocking opener, but starting with 'Closing My Eyes', I was beginning to wonder what the big deal was. It's not bad or anything, just sort of ordinary blues rock. Things get interesting with the meandering psychedelic 'Underway' which is followed by the album's centerpiece 'Oh Well'. Another odd aspect of Then Play On is that none of the tracks on here were FM radio staples. At least not by the late 70s. I bring that up here at 'Oh Well' because I did recognize this song. It just wasn't by Fleetwood Mac, but rather a band called The Rockets, who covered only the rockin' part of the track in 1979. I remember it well, and enjoyed hearing it on the radio back then. Never knew who they were until now - or the source of the song. What's great about 'Oh Well' is not the rocking first third, but rather the rest, which drifts off into the pastoral countryside for the remainder.

And this is how good albums suck you in. It's subtle with Then Play On, but the album continues without rhyme or reason. The 'Madge' tracks are fantastic west coast styled psychedelic ramblers and 'Rattlesnake Shake' is a good jamming hard rocker. Well really, I could go on and on here, but there's no cohesiveness to this album whatsoever. And therein lies its charm. To me, it's amazing Fleetwood Mac ever got that far in their recording career. They were on their 11th album by the time 'Rhiannon' became a massive hit. How many great musical acts never got past one album? And here's Fleetwood Mac with a pile of mediocre to very good, but unfocused albums to their credit, before it all came together. It's like one of those football head coaches who string together many years of 8 and 8 records, only to win the Super Bowl twice in a row afterward. Obviously the talent was there all along. 

Whatever the case, glad I finally heard this one. I'll be keeping it. 

Some significant release details: The original 1969 release is different than the 1970 (& beyond) repress. And that's significant because 'Oh Well' is not on the originals. And that doesn't even get me started on the differences between the US and UK pressings, much less other countries. And then the CDs came along and mashed them all up together, but again without rhyme or reason. Like the album itself haha.

Ownership: 1976 Reprise (LP). Gatefold. Acquired in 2022.

8/1/22 (review)

Kiln House (LP)

Finally, a new-to-me Fleetwood Mac album. But unfortunately I'm already pining for Stevie Nicks and crew. Wow - I really don't like this album. It has more in common with Bill Haley than it does anything from the 60s and 70s. Which is fine if you enjoy that sort of thing, but I don't. Kirwan doesn't get a chance to shine much here, though the one saving grace is his composition 'Tell Me All the Things You Do', the album's easy highlight. Where is Bob Welch when you need him? Great cover belies its musical content.

Source: 1970 Reprise (LP)

7/3/21 (review)

 

Bare Trees (1972)

It appears that one of my favorite pastimes is to buy Fleetwood Mac albums at thrift shops so that I can bash them here. And I always seem to find the same ones, so I never get to hear anything new. Like with Supertramp, even their most commoditized albums go for ten bucks at record shows, and even more for Rumours. In any case, this is my second go round with Bare Trees. One last try before it too finds its inevitable way to the show bin. Then a funny thing happened. I found myself actually enjoying it. Finally a Fleetwood Mac album that doesn't make me feel like a mature adult. Once it began to capture my imagination, I decided to research the history. And then it all comes together. There are three songwriters here, each very different. And that's the story of the album itself - a true transition album going from their bluesy, but loosey goosey past, onto their MOR years that the band is most known for. One is Christine McVie, the blues gal that continued (along with her then-husband John) onto to fame and fortune with the band. Her two tracks are my least favorite here. Then there's Bob Welch, the Californian whose mature songwriting foreshadowed their later work, even though he didn't stick around long enough for the big time. 'Sentimental Lady' is a great example of this, and he was able to gain some fortune for the song - but as a solo artist five years later. His other contribution is 'The Ghost', which is about as close to prog as Fleetwood Mac ever gets, and is the highlight of the album. Some fine flute helps with that perception. The other half belongs to a one Danny Kirwan, as mercurial an individual as they come, and this would be his swan song for Fleetwood Mac. And he's all over the place when it comes to style. Unfocused and unhinged. And therein lies the allure. All of his compositions are really good, without any cohesion between them. 'Danny's Chant' is downright acid rock. What?

Ownership: 1977 Reprise (LP). Acquired in 2021.

5/3/21 (review)

 

Fleetwood Mac (1975)

Here's the beginning of the classic lineup with Stevie Nicks and Lindsey Buckingham. Last year I wrote in detail my thoughts of this era of Fleetwood Mac, after hearing Rumours again. This album is even more mature than that one. I presume they're playing this in Senior Centers now? I'll never be old enough to listen to this. Average at best. I just don't get it.

Source: 1975 Reprise (LP)

12/21/20 (review)

Mystery to Me (1973) 

What's a mystery to me is why Fleetwood Mac are so popular - at least after they dumped the blues. More adult contemporary music for those who are more mature than me (I sense a theme here...). I do admit to really enjoying 'Hypnotized', perhaps a luck-out track on their part. Opener 'Emerald Eyes' is good too. The rest you can have.

Source: 1973 Reprise (LP)

11/2/20 (review)

  

Rumours (1977)

It was the beginning of 1977 that I first began to listen to FM radio intently. With my new all-in-one Sanyo stereo including tape deck, the idea that I could actually tape what was on the radio was mind blowing, and given my organizational nature (even back then), I would spend hours listening for the best songs to put on compilation tapes. I think that's why my parents bought it for me. No more Genius Hans to worry about! Here's dinner under the door....

If Rumours wasn't the album played most in 1977, it certainly was in the running for top spot. The music here was really too mature for what I was looking for back then. I was all of 12, and it seemed to be massively popular not with the kids I went to school with, but rather those 3 to 10 years older. By the time I got to high school in 1979, the music world was a-changin', and Rumours was just music for older people as far as I saw it. But that didn't stop the radio from playing the hits from this album over and over. And here we are some 42 years later, and the radio still plays these songs as if that's all we want to hear. Like they locked in their play list in 1978 and refused to budge. The heyday of FM radio I guess. Similar to Watergate and investigative journalism. They want that moment in time back.

I don't and never did...want that time back, that is. Had I heard this album all the way through before? Oh probably - may have even taped it in full (ooh, Mick Fleetwood would not have liked that, no sirree). I didn't rate it, because I can't honestly say I'd heard it in recent times (recent = last 20 years).

It seems I've heard this album anyway - just through pure inculcation. Thank you K*** 105 and W*** 98, etc... For the known tracks - the inescapable ones - I would say my opinion hasn't changed much since I was 12. Guess I haven't evolved much huh? Well I know that's not true, but maybe it is with MOR records. So for my DNA, 'The Chain' is still great, and 'Dreams' I can listen to without cringing. The rest - make it stop. As for the few unknown tracks, I did find myself enjoying the last 2. Not enough to keep the album mind you. I'm not going to say this is a bad album - that's crazy. The songs are well written, but they just don't resonate with me at all. Probably how my parents felt about Elvis.

The bottom line: I'm just not old enough to listen to this. Even now.

Ownership: Warner Bros (CD). Always tempted to keep the LP's I find but this commodity CD is all I need. Acquired in 2025

9/14/19 (review)

9/14/19 (new entry)

Frank Marino / Mahogany Rush ~ Canada ~ Montreal, Quebec

Eye of the Storm (2000)

---Feb 2005

Whoa! Nice surprise this one is. I was expecting at best an attempt at his patented driving hard rock / Hendrix styled rock. What I didn’t foresee is a more progressive styled album. Eye of the Storm features some looooong space rock jams using Arabic scales – just like the old Krautrockers would do! You can hear this on the lengthy ten minute title track and even more so on the slightly longer ‘He’s Calling’. It isn’t until the 4th track, ‘Learned My Lesson Well’, that the What’s Next era Marino shows up. And that’s great too! This is followed by the 11 ½ minute ‘Heat of the Moment’ which recalls ‘Poppy’, my personal favorite Marino composition. Next is 'Windows to the World' which reminds me of ‘The Answer’ from Mahogany Rush IV (nice to see Frank reaching this far back into his repertoire). Another long cut, ‘Avalon’, also brings to mind the highly melodic ‘Poppy’ in addition to the jazzy instrumental ‘Tales of the Unexpected’ era. Believe it or not, I not only think this is a great album, but I think could very well be his best studio effort! Totally amazed by that.

---9/28/14

This really was a magnificent comeback for Frank Marino. Eye of the Storm arrived in 2000, 18 years after his last significant studio album Juggernaut (there were a couple of obscure efforts in between and one excellent live album). Perhaps what's most amazing about Eye of the Storm is that the album isn't a continuation of his more known hard rock style, but rather a further look back into his psychedelic past of the very early days of his career. Many of the tracks are quite lengthy: Four of them near or over the 10 minute mark with two more pushing eight each. The music at times goes off into a space rock direction, filled to the brim with Marino's amazing solo guitar talent. If you're familiar with the excellent 'Poppy' track from his live albums, then there's quite a bit of that style here. Only the straightforward, yet still excellent rocker 'Learned My Lesson Well' will recall the Marino of the 'What's Next' era.

As I write this review, we have yet to get a new album from Frank. If this is indeed his swan song, then he definitely went out on a high. Though possibly even better than this studio effort, is the 2004 ReaLLive album that just lays the concert hall to waste.

It's really too bad this album has fallen through the cracks, and few seem to have noticed. As I write this, it's #889 for 2001. Wow - that's really sad for an artist who has a legacy like Frank Marino - and this is one of his best albums ever! I do think its rediscovery is eventual - it's only a matter of time.

---8/18/24

For that last sentence, I said similar on my recent review of Tales of the Unexpected. And the album is now #1,606 for 2001, having lost half its ground. Over time, quality music transcends the trends of an era. Like evaluating a president, history will be the judge based on data, not emotion. I predict Frank Marino will be near the top when it's all said and done. I enjoyed another +1 listen, and it now resides in the highest tier of my world.

Ownership: 2001 Just A Minute (CD). Lyric booklet.

2//05 (acquired review); 9/28/14 (review #2); 8/18/24 (update)

World Anthem (1977)

Frank should be all the rage in today's musical world, not sure why he isn't. I was first introduced to Frank Marino at the point where Tales of the Unexpected was released. I really enjoyed that album and bought the others that were in print at the time - namely IV, Live, and this album (the first three were OOP back then). For whatever reason, World Anthem remains my least favorite of these albums (well, the first Live album isn't very good - especially compared to what he later released live). It's a transitional album from the IV release, which was an odd mix of hard blues, funk rock, and prog (?!). But World Anthem also harbors some of the more aggressive hard rock that Marino was to pursue on the smoking live side of Tales of the Unexpected. In the end, I've really warmed up to this album, after some 41 years of familiarity.

Ownership: 1977 Columbia (LP)

1979 (first acquired); 1//08; 8/28/16; 11/27/20 (review)

What's Next (1980)

Frank Marino and Mahogany Rush's 7th studio album is about as great as it can get when talking fast paced and bluesy hard rock guitar. 'You Got Livin'', 'Finish Line', 'Mona', and especially 'Something's Comin' Our Way' are jaw dropping in their execution and intensity, and represent the apex of Marino's original recordings. Not an entirely consistent album, though for hard blues fans, it's also difficult not to love 'Rock Me Baby' and 'Loved By You'. I'm not real fond of the Doors' cover 'Roadhouse Blues', primarily because it doesn't add anything new and lacks Marino's usual unique solo touch.

One of the all-time great hard rock albums - at times strikingly so.

Ownership: 1980 Columbia (LP); 2017 Rock Candy (CD). Liner notes from long time Kerrang writer Malcom Dome. Some photos and poster shots as well. 

1980 (acquired); 9/14/19 (review)

Full Circle (1986)

I bought this one when it came out, already a fully fledged Frank Marino fan. I was pretty disappointed at the time, but kept it all these years anyway. It's still probably his weakest effort objectively speaking, but there's some really good material here. In particular the opener and 'Had Enough', the latter recalling some of his best work, where he really lets loose on the instrument he's holding behind his head. 

Ownership: 1986 Grudge / Maze (LP)

1986 (acquired); 2004; 8/20/18 (review)

Tales of the Unexpected (1979)

A very interesting album that has aged well I think (heck - I bought the album when it came out - I was all of 14). 'Sister Change' is a killer psych funk track - a sound that didn't find its audience until 25 years later. The instrumental title track really is something unexpected. Half of it is smoldering psych fusion ala Mahavishnu John McLaughlin while the second half enters into 60s Les Paul / Grant Green lightly amplified jazz territory. 'All Along the Watchtower' is Marino covering Hendrix's version of the Dylan classic, so a bit superfluous I guess, but still great to hear Frank do it. 'Norwegian Wood' is the throwaway here. It's not a bad cover, but too far removed - and soft - for what makes Marino great (besides, it's only three minutes). As for Side 2 - well this is the classic Mahogany Rush side. Absolute killer hard blues rock as only Frank and the boys can do it. Blazing solos throughout. 'Woman' is just phenomenal. And the prototype for the amazing What's Next album.

Mark my words - the rediscovery of Frank Marino will one day happen, a great talent who is sadly way too unknown in these times. I might be 80 when it occurs.... but it will happen.

Ownership: 1979 Columbia (LP); 1990 Columbia (CD)

1979 (acquired); 1/7/15 (review)

Other albums I own and need to review: Maxoom; Child of the Novelty; Strange Universe; Mahogany Rush IV; The Power of Rock and Roll; Juggernaut; Double Live; Real Live!

1/7/15 (new entry)

Missus Beastly ~ Germany

Minden 1976 (2023)

You would be hard pressed to find a more ardent fan of Missus Beastly than myself. Especially their jazz rock era starting in 1974 and concluding in the early 80s with Dr. Aftershave. This would include their festival recordings as well. However when it comes to archival releases, their two prior could only be considered disappointments. The SWF Session is largely a live radio alternate take of their 1974 self-titled album and is debatable that it should have been released in the first place. The Bremen 1974 performance with Dzyan guitarist Eddy Marron sounded like a home run on paper, yet it was mostly a free jazz exercise, noisy and tuneless.

With that backdrop I reluctantly plucked down for Minden 1976 with obvious trepidation. And the good news is I was rewarded with a unique recording that sounds like an improvised 75 minute concert based on familiar Missus Beastly themes. Garden of Delights went to great lengths to point this out, seemingly addressing my concerns personally, and they were right to do so. The sound is fantastic, and they point out it wasn't from the soundboard but rather two professional microphone recordings mixed together. They stated they didn't want the soundboard (which I guess exists too) because it would have been a different mix than intended. Never thought about that before. So the feeling you get is that you're actually there listening to a concert played 48 years ago. The instrumental music is very good with some long solo opportunities, to be expected on a lengthy concert. Perhaps best of all is Norbert Domling's use of the Framus Triumph bass. Essentially it was an electric upright bass, but much thinner and lighter more ideal for travel. Has a cool sound, and one wonders why it wasn't more popular in its day. Though I'm sure it wasn't cheap. Keyboards, flute, sax, and drums round out the sound. Guitar wasn't part of their usual lineup during this era.

Ownership: CD: 2023 Garden of Delights. Jewel case. Full historical liners and photos.

7/15/24 (review)

Dr. Aftershave - In the Diving Bell (1980 / 2017)

In The Diving Bell is essentially Missus Beastly's final album. Dr. Aftershave was a moniker they'd used in the past, as the album known as Dr. Aftershave and the Mixed Pickles was actually the name of the band and For Missus Beastly the title. But of course no one sees it that way, it was just a legal matter.

Musically it's easy to consider In the Diving Bell as a continuation of where the band was at with Space Guerrilla. They're only a trio here, so the music is not quite as diverse as before. Especially notable is the absence of woodwinds. Mostly it's Burkard Schmidl's keyboards that lead the way, with a superb rhythm section driving the music forward. He plays a mixture of piano, period synths, and analog electric keyboards. At the beginning of the album I wasn't convinced the band had much left in the creativity tank, sounding like any number of 1980 fusion bands out there. But once the lengthy 'Resurrection Agents' gets going, the magic of Missus Beastly steps up with it, and the perception changes. The album was intended to be released real time, so the sound quality is that of a final product. Overall a very fine effort straddling the border of very good to excellent. Knowing how Missus Beastly has grown on me in the past, I figure this album will also grow in stature with time.

Ownership: 2017 Garden of Delights (CD). Historical liner notes, excellent sound, and plenty of photos.

9/21/22 (review)

Space Guerilla (1978)

Missus Beastly's final album sees the legendary band going out in style. The constant line-up changes had taken their toll on the group, and though they continued on with different line-ups as late as 1982, the band finally collapsed with the advent of punk and heavy metal.

Flute and Clavinet are but two instruments that define this mature work by these veterans of Germany's jazz rock circuit. A mixture of high energy fusion and spaced out cosmic jazz with long flights of organ jamming define the lengthy title track, arguably the album's finest moment. Some beautiful piano can be found on 'Guitar for Sale'. 'Rahsaan Roland Kirk' is a 3 minute echoed flute solo, which is quite cool. 'Fuzzy, Don't Go to the Disco' brings in the expected funk bits, typical of the era, but features some fine shredding violin. 'Hoffmannstropfen' seems to be headed in a similar direction, before taking a distinct turn towards their classic 1974 Nova album, which is always a welcome sound. 'For Flü' demonstrates Missus Beastly at their most technical and progressive, with some superb flute and piano playing. 'King Garlic' continues with the piano driven sound, this time in a highly melodic composition, and a great way to close the album. For my tastes, Space Guerilla is second only to the monstrous 1974 self-titled album in their discography. I do hope a tape surfaces of one of their mid to late 70s performances. For example, 'Porta Erotica' that has been added as a bonus track to the Garden of Delights CD, from one of the famous Umsonst und Draussen festivals that we covered years ago.

Ownership: 1978 Schneeball (LP). Gatefold; 2015 Garden of Delights (CD). Two bonus tracks and liner notes.

2000 (acquired); 7/10/16 (review)

Dr. Aftershave and the Mixed Pickles (1976)

Dr. Aftershave and The Mixed-Pickles sees Missus Beastly moving onto the more-in-fashion funky sounds of the era, while still building on the jazz rock of the 1974 album. Anyone who is familiar with Embryo's Bad Heads and Bad Cats will immediately recognize the sounds here (and they share many members between the groups). Worth noting this is the first album on the April label, later renamed Schneeball for legal reasons.

Ownership: 1976 April (LP) FOC; 2011 Garden of Delights (CD). Two bonus tracks, history, and photos.

2002 (acquired); 2010; 11/17/11; 3/18/13 (review)

Missus Beastly (1974)

The evolution to a Masterpiece status is a strange phenomenon. Like many albums at first glance, Missus Beastly's second album struck me simply as better than average. As the years went by, something about the album kept drawing me to it. Not all masterpiece albums take this long of course, but this is one of those albums that gets into your skin and just won't let go. It's now to the point where the measuring stick for all things jazz rock must go up against it. Cosmic Dreams At Play says of this album "uninspired slick fusion", which could not be further from the truth. The rhythm section here is amazing, jet propelled, sporadic, and energetic. The piano playing is divine, frequently compared to McCoy Tyner's best work. The dual sax/flute combination drives the melody and solo lines and they're always in control. And the tunes are memorable long after the music has stopped as perhaps best exemplified by '20th Century Break'. A brilliant album.

The CD adds four bonus tracks that demonstrate a much rawer and looser Missus Beastly, but still very engaging.

Personally I find the LP cover absolutely hideous, and downright offensive. According to the CD liner notes, the band had no artistic control of this situation, and it appears to be the poor judgment of the label themselves. The cover doesn't represent the style of music at all.  

Ownership: 1974 Nova (LP); 2005 Garden of Delights (CD). Bonus tracks and liner notes.

1996 (first acquired); 3/16/13 (review)

SWF Session 1974 (2012)

Hmm! So we have an interesting one here. The question is: Are you willing to buy an alternate version of the 1974 Missus Beastly album? If the answer is yes, then definitely get this. If not, read on. I'm disappointed in Long Hair for not mentioning the similarities between the two. And the lackluster liner notes make no explanation as to why some of the tracks have different names than on their vinyl counterpart. It's worth noting that these recordings (two different sessions) were recorded near the dates of the studio release, so the similarities with the actual album are certainly understandable from the band's perspective.

The album begins with 'Fly Away', which is track 6 on the Nova album. It's a great example of why the original album is so brilliant in my eyes (the album itself is a 5 star masterpiece as far as I'm concerned - see above).

But now the problems start. The second track would appear to be unique, if titles are what we go on here: 'Simsalabim'. But the melody is instantly recognizable and, sure enough, it's the 'Paranoidl' track from the LP.

Now things really get weird. Track 3 is 'Talle', which turns out to be '20th Century Break' on the original, and happens to be one of my favorite tracks of all-time. No mention, as I stated earlier, as to why the difference in track titles. To make matters worse, 'Talle' from the LP is the ONLY track not on the SWF Session. Good grief - what a mess.

'Free Clinic' is a unique track, though there is a longer improvised live version on the GoD reissue (as a bonus track).

'Geisha' is a pretty faithful representative of the LP version. 'Space in the Place' is the first truly new piece (I think) represented here. But at just two minutes, there's not much to grab onto.

'Song For Ann' is a beautiful Dieter Miekautsch piano piece - except it too was released on the (get ready) Missing Link album from 1972 (Missing Link... Missus Beastly. Ay-yi-yi. Keeping up with me here?). It's slightly different than the LP version, but not by much.

'Dauerwurst', like 'Simsalabim', is not new. It's a renamed version of 'Vacuum Cleaner Dance' from the Nova LP. It's driving me nuts why none of this has been mentioned before!

'Julia' is a lively rendition of the Nova album opener. Different enough to be exciting, and perhaps what this SWF could have been about. But no.

And we get to the last two tracks - which are finally unique. 'Serenade to a Soul Sister' is no doubt an embryonic version of 'Vloflutho' which shows up as a bonus track on GoD's CD of the '74 album.

Former ownership: 2012 Long Hair (CD)

3/17/13 (review)

Missus Beastly (1970)

Missus Beastly's debut is squarely in the psychedelic blues rock camp, and is significantly different than their later (and brilliant IMO) jazz rock albums. Highlights here are the gloomy organ, Mississippi Delta blues guitar, and downer vocals. Definitely strives for a down and out American alley sound. And succeeds for the most part.

Missus Beastly's debut album is one of the earliest examples of a studio album being pirated and resold (Nara Asst Incense version). While this has sadly become common practice in the CD era, it was very rare in the early 70s when the industry was more tightly controlled. 

Ownership: 2012 Garden of Delights (LP). Gatefold. Liner notes.

3/9/13 (review)

3/9/13 (new entry)

The Doors ~ USA ~ Los Angeles, California

Absolutely Live (1970)

Worth keeping for this album's version of 'When the Music's Over' which sounds like a crazed Krautrock track with psychotic vocals from Morrison. Both Krieger and Manzarek go off the rails with their respective guitar and organ solos. Densmore is very active on the drum kit as well. Much more kinetic than the also great studio version. There's plenty of other moments like that interspersed throughout. They front load the blues tracks which is my least favorite aspect of The Doors, so they get most of that out of the way early.

Ownership: 1970 Elektra (2xLP). Gatefold. Acquired in 2024.

7/5/24 (review)
 

Other Voices (1971) 

I've been wanting hear these post-Morrison Doors albums for some time. A college chum played me Full Circle way back then, but I recall little about it. Based on what I'm reading, I can pass on a revisit. And that's primarily because Other Voices, which is supposed to be better, isn't really all that good either. The easy out here would be to just state it's The Doors without Jim Morrison, so how could it be good anyway? Well... plenty of bands have survived tragedy only to improve from there. I could very easily see this album being the next Doors release after LA Woman. It's not like Morrison would go "Gee guys, I'm not so keen on 'I'm Horny, I'm Stoned'". Now he'd for certain sing it better than Ray or Robby, but the song still stinks. I do like 'Ships w/ Sails' and 'Hang On To Your Life', but not enough to keep. Too bad, as this is a very fine glossy German gatefold. 

Source: 1973 Elektra Germany (LP)

1/2/22 (review)
 

The Doors (1967)

The older I get, the more I have become to realize that the "big name" bands of the late 1960s are really not to my taste. Bet you thought I'd say the opposite. It's something I hear quite often among my age group and older, just how much better the music was back then. Utter nonsense I say. You just have to dig harder for it - and that's been the case ever since I first started collecting in earnest in the early 1980s. But in the late 60s, FM radio was all one really needed.

With that out of the way, The Doors are proving to be the exception for me. I'm really starting to enjoy not only their hits - something I've always had appreciation for - but also their more obscure album cuts. I've recently picked up the entire Doors catalog (Morrison era) of remastered CDs, and will be revisiting all of them. Though I'm rather certain my favorite will remain this debut - an album that is groundbreaking as it is enjoyable. That's a rare combo actually. Sgt Peppers was groundbreaking, but I get bored with it. Zappa/Mothers of Invention's Freak Out is even more pioneering. I can barely listen to it. The Doors though. Yea, wow. After all these years, I still get goosebumps listening to the instrumental section of 'Light My Fire'. I don't know how that's even possible. Whatever - you know this album already. Just wanted to join the chorus for once and state I agree with its lofty reputation.

I really love the remastered CD version, but I imagine its quite controversial among the fans. Apparently the original version was released slower than intended. So it's been pushed up to its original intended speed. It's a bit disorienting, but sounds really great to my ears.

Ownership: 

2007 Elektra / Rhino (CD) 40th Anniversary edition. Booklet with recording details and the history of the band. And bonus tracks. Acquired in 2019.

Elektra (LP). Later commodity pressing. First acquired in 1982. This version acquired in 2024. 

Elektra (MC). Later commodity pressing. Acquired in 2025.

1982; 7/21/19 (review)

7/21/19 (new entry)

Warm Dust ~ England

And It Came to Pass (1970)

---10/19/09

Warm Dust released four albums worth of material in two years (first album is a double). When Warm Dust are on, they play some of the finest jazz infused prog rock one can hear. Somewhere between fellow English groups Nucleus and If, when both are at their peak. There are some really beautiful grooves to be found here. Sometimes they're a bit too diverse for their own good, especially in their feeble attempts at free jazz or straight blues rock numbers. But the good outweighs the bad - especially on the first two albums. 

---12/19/23

That review was an overview for all three of their albums, but could suffice for the debut as well. This double album does possess superb highs. Warm Dust are at their best when they lay down a sweet jazz groove followed by organ and flute. For whatever reason they occasionally throw in some atonal jazz soloing that ruins that flow, but it's fortunately scarce. There's two distinct blues rock tracks, with the second album's version being more to my taste. Overall I enjoyed a +1 listen as I was able to focus more on their positives rather than their missteps. And there's much more of the former.

Ownership: 1970 Trend UK (2xLP). Gatefold. 

No legit reissues exist as of 3/31/25.

10/19/09 (review); 12/18/23 (update / new entry)

Farm. 1971 USA-Illinois

About eight years ago I wrote for RYM:

I have a somewhat long history with this album. Back in the late 1980s when Genius Hans was just starting his career (such as it was), I was a computer programmer/developer for a tax software company. Yes, a tax software firm. Real cube dweller stuff. Sexy job, eh? One of the accountant's I worked with, and who I had become friendly with, was from Illinois, and he was about 15 years older than I. His wife - yes his wife - was once the main squeeze of a band member from... (oh c'mon guess?). And yes, she had the original album in her possession! And they let me borrow it. I liked it then... just as I like it now. It's a bit outside of my strike zone, but for guitar driven hard blues rock, mostly instrumental, it's quite good.

Naturally I asked if she was willing to sell it. Naw - too many memories. No telling if they still have it, but I'll guess yes. He just recently retired too (lucky bastard).

I never did buy the doggone thing. I should probably get one of the reissues just for the memories.

---

And I finally did just that - obtain a physical copy. Not much more to add from last night's listen, this is a special album for me because of the story above. Otherwise I probably wouldn't allocate precious collection space for a reissue LP such as this. In addition to what I say above, early The Allman Brothers comes to mind as a major influence, and the final track is a cover of 'Statesboro Blues', so there you have it. It's a short album, barely clearing 26 minutes.

Ownership: LP: 2022 Guerssen. Single sleeve with obi. Contains a four page insert that includes an interview from It's Psychedelic Baby. Also has some photos and other memorabilia. 

Originals haven't gotten any cheaper, but I can tell you Farm was going for a similar price in 1990. And I told my friend that back then. Some things will remain scarce. One wonders if that market ever softens.

1990; 1/18/16 (RYM); 12/15/23 (new entry)

Hurdy Gurdy ~ Denmark

Hurdy Gurdy (1972)

Hurdy Gurdy is guitarist Claude Bohling's group before joining Secret Oyster. Their sole album is legendary in collecting circles, and it's easy to see why given the sheer amount of invention within the tight confines of a guitar trio. About half the album is straight up hard rock / blues, and the other half puts on their creative hat and flies to the cosmos. In this way, Hurdy Gurdy reminds me of The Human Beast or Clear Blue Sky. Some superb soloing from Bohling throughout.

The CD offers three excellent bonus tracks, very relevant to the album proper. 

Ownership: 2002 Karma (CD). Lyric booklet. Acquired in 2023.

9/26/07;12/13/23 (review / new entry)

Ashkan - In From the Cold. 1969 England

Over 18 years ago I wrote:

UK heavy blues rock, obviously spurred on by the success of Cream. Not as ballistic as Elias Hulk but I do dig that wah guitar sound. Other than the trad blues piece ‘Backlash Blues’ and the short and goofy ‘Slightly Country’, this one stays true to the rock aesthetic. Some of the jams get intense with fuzz solos and pounding drums. Long album for the era going over 50 minutes. Vocals are an acquired taste, not unusual from the blues rock camp. A good one, and exceeded my lowered expectations.

---

Yea, OK, pretty decent run through there. I will now offer that it's B2 and B4 that take it over the threshold to the excellent category. One can hear these guys belting out in the same sweaty clubs as Led Zeppelin at their beginning.

Ownership: CD: 2005 Decca (Japan). Papersleeve edition. Keeping this because of the vinyl condition above. This was my introduction to the album and was the source for my original notes.

3//05; 5/29/09; 9/3/23 (new entry)