Deep Purple (& related) ~ England

Deep Purple are arguably one of the best hard rock groups ever, going toe to toe with Led Zeppelin in the 70s popularity sweepstakes. The primary difference is that Deep Purple continued on into the 80s and beyond, and are still releasing new product. I haven't heard a Deep Purple album yet that I didn't enjoy at some level. Granted I haven't listened to anything new from the band in nearly 30 years, but I'm sure I will at some point. As you will see below, the later albums are new to me in the 2020's, that's how long ago I dropped Deep Purple from the buy category (1984). I have more of their classic albums here too, just haven't penned any notes for them yet.

As for the "& related" appellation, I'm casting a wide net. Mostly I'm thinking of groups and artists that I wouldn't likely separate anyway, so might as well include them here. The exception is Rainbow, and I'll get a page up for them the next time I review one of their albums or 45s. 

Concerto For Group And Orchestra (1969)

Concerto For Group And Orchestra is Jon Lord's dream of the prestigious Royal Philharmonic Orchestra playing his own concerto. Which was a really big deal for 1969. The button up orchestra going up against the blues rock ruffians. There isn't much cohesion at all between the two. There's no fusion or interplay here. The classical is the classical, and the rock is the rock. While I can appreciate the former, and own a fair share of classical albums, it's the latter I'm focused on. Had this been released strictly as a typical Deep Purple album, after Deep Purple (III) and In Rock, they may have lost their audience before they got there. It's nothing more than a charming novelty at this point. I can't judge the quality of the concerto itself, that's for a different audience. 

I'd never sat down and heard this album prior. I have this on DVD as well, just haven't viewed it yet. I think it will translate better in that format.

Source: 1970 Warner Bros (LP). Gatefold. Green label.

4/18/26 (review)

Whitesnake - A Slip of the Tongue (1989) 

As with their 1987 album, A Slip of the Tongue starts off strong. It doesn't take long, though, for Whitesnake to out-cliche the cliche. The title certainly is indicative of their mindset. One senses at this point that they're jealous not to have been from Los Angeles. They certainly sound like it. Depraved and all of that, but musically it's good hard rock. Nothing more though.

Source: 1989 Geffen (MC)

1/29/25 (review)

Tommy Bolin - Private Eyes (1976)

Tommy Bolin's albums show up quite a bit here in Colorado since that's where he first made his name. So what do we have here from Bolin's post Deep Purple life? It's an eclectic album mixing various AOR and classic rock styles. Most of the tracks are pleasant and well written. With excellent guitar work as to be expected. I'm not real keen on A2 and B3, but the rest is very good. The payoff cut here is 'Post Toastee' the only place that Bolin really lets loose on the guitar. I remember hearing this song on the radio while still in high school and wondering who it even was. Once I found out and then saw the album cover, instincts told me to avoid. And that was the right call at the time. Unfortunately this was to be Bolin's last work, dying of a drug overdose at the young age of 25.

Source: 1976 Columbia (LP)

4/28/15; 1/27/25 (review)

The House of Blue Light (1987)

In recent years I've inexplicably acquired a taste for later era Deep Purple. As I reflect back, The House of Blue Light would have been the first album I'd ignored entirely and that remained the case until only the last few years. My reunion with Perfect Strangers went much better than expected, and I hear this album very similar to that one. So why would that be the case? I think real time, to my ears at least, these old dinosaur rockers weren't bringing anything new. Blues based hard rock was ever pervasive on the radio and honestly a bit tired by then. Forgetting my initial deep diving into the 70s European underground for a moment, I was also tracking current metal trends, in particular on the thrash side. That was where my high energy dollars were going. Not hard rock retreads.

Today I hear a band that was embracing their past while begrudgingly giving into some 80s trends. Essentially it's retro hard rock 15 years before anyone would think of such a thing. While some of the production techniques remind us of the 80s synth pop bands, Blackmore's guitar is still rooted in the 70s past. Gillan sounds great, though less emotional than his best works. He seems to be emulating Dio oddly enough. Sure 'Call of the Wild' can be skipped (not really a bad song, just the wrong band to perform it). 'Hard Lovin' Woman' has the right title but the perkiness doesn't match. The rest of Side 2 is where the revelation is. One wonders if many fans had the patience to get that far. Every track is a winner and Blackmore lets loose more than usual. 'Dead or Alive' is a great closer where Jon Lord finally shows up with his Hammond B3 and they get into an updated 'Highway Star' solo trade off.

Certainly not suggesting that The House of Blue Light is the pick of the Deep Purple litter, and I'll probably sell it at some point. But it's much better than I expected.

Former ownership: 1987 Mercury promo (LP). Acquired in 2024. Downsized in 2026.

6/4/24 (review)

In Rock (1970)

Below I wrote for the follow up album Fireball: "While seemingly half of Europe was copying Deep Purple - In Rock's innovations with hard rock, the band themselves regressed back into blues rock." In hearing In Rock for the first time in many years, I think I managed to underestimate it. Every track is a hard rock winner, with Blackmore and Lord trading the heaviest solos of their career. Ian Gillan provides the blueprint for every hard rock, and later, heavy metal vocalist. Paice and Glover are on fire here. 'Child in Time' is a track for the ages. 

Ownership: 

1970 Warner Bros. (LP). Gatefold. Green label. Upgraded in 2025.

Warner Bros. (CD). 2000's press. Acquired in 2006.

First copy: 1983 Harvest / Fame (LP). Acquired in 1986.

1986; 2006; 2/2/23 (review)

Deep Purple (1969)

Deep Purple's 3rd album is an odd bird to be sure. It's a ship without an anchor. Is it prog? psych? hard rock? The answer is yes. They really have a great sound here with Blackmore displaying more of an acid tone than usual and Lord's Hammond way out front. This was to be the end of Mk. 1, before the band decided to rip their shirts open to show their hairy chest while their balls clanged to the ground. It was the right move at the right time, and Deep Purple are legends because of the variation of the band known as Mk 2. What would have happened had they continued with Evans and Simper? Hard to know but likely they would have stayed regional and ultimately faded away - one more 60s English band that is more a footnote than one with a true historical legacy.

In any event, I like this 3rd album - as quirky as The Book of Taliesyn that preceded it. No major highlights but an easy album on the ears that doesn't ask too much from the listener.

CD comes with five bonus tracks, two from a single and three taken from BBC radio sessions.

Ownership: 2003 Purple Japan (CD). Extra thick gatefold papersleeve. Acquired in 2005.

7//05; 12/4/22 (review)

Whitesnake - Lovehunter (1979) 

A real outlier in RTs collection. "I liked the cover" he tells me. Well yea, can't argue that point! Lyrically these guys were really plugged into the macho oversexed culture of the day. Today they would be cancelled for being sexist pigs. Which is, of course, what they were... Musically it's still the same old bluesy hard rock that one would hear from 1973. So they had fallen way behind on that front. Ultimately they would catch up with the era they lived in (see our notes on the 1987 album). A pretty good album, but nothing that really stands out.

Source: 1979 United Artists (LP) 

11/24/21 (review)

Fireball (1971)

While seemingly half of Europe was copying Deep Purple - In Rock's innovations with hard rock, the band themselves regressed back into blues rock. At least for the first side. Though the opening title track is a burner, the rest takes us back to the late 60s pre-proggy era of Purple, and is shockingly ordinary. Side 2, however, makes up for it and picks up where the last album left off. Much more interesting and creative hard rock - though not trailblazing. When it's 1971, you are Deep Purple, and your album is named Fireball, one presumes you'll get more than this. Led Zeppelin, for their part, put out 'Stairway to Heaven' among other tracks etched into our collective DNA's. You think they created some separation there in the public's mind? Oh yea. Meanwhile Black Sabbath was dominating the underground with Master of Reality. Most people here couldn't name one song on Fireball, as none of these made it out of the early 70s as far as American FM radio was concerned. They were to make up for all of this in a big way the following year with Machine Head. But they lost some ground in 1971, a most pivotal year.

Ownership: 2000 Warner Bros. / Rhino (CD). Full written history, new photos, vintage posters, old reviews, and multiple relevant bonus tracks including a 45 single. An excellent reissue. Acquired in 2016.

2//06; 8/13/16; 3/25/17; 10/23/22 (review)

Trapeze - Meduza (1970)

Trapeze's second album is a solid hard rock work, one step ahead of the more blues oriented competition. The band is most known for contributing Glenn Hughes to Deep Purple and Dave Holland to Judas Priest (later), though they had a nice career throughout the 70s. Guitarist Mel Galley found success with Whitesnake as well. Speaking of Judas Priest, one can hear their prototype on tracks like 'Jury' and 'Medusa'. Not a life changing album, but this is good meat and potatoes hard rock.

Ownership: 1970 Threshold (LP). Gatefold. Acquired in 2022.

8/26/22 (review)

Perfect Strangers (1984)

The hype sticker on my copy screams "Destiny Brought Them Together. Again." So we'll presume then that it was destiny that intervened and broke them up. Again. Or it could just be that Blackmore and Gillan couldn't stand each other. But on this reunion of the famous "Mk. II" band, their first together since 1973, the band sounded fresh. 1984 was an odd time for an old fashioned hard rock band to be trying to make a comeback in a world full of heavy metal bands and New Wave pop artists. Undeterred, Deep Purple did just that. The title track sounding more classic Led Zeppelin than Deep Purple, nonetheless they caught fire and Deep Purple were back in the limelight for the first time in a decade. Jon Lord's organ hasn't changed one bit (no need for cheap synthesizers), Blackmore is ripping solos in his inimitable way, and Gillan is still sounding like a virile young man. The only downside is that Glover and Paice did decide to sound more 80s, and the wide open beats are too simple for these guys. 'Burn' this is not. All the same, a triumphant comeback album.

Ownership: 1984 Mercury (LP). Lyric insert. Reacquired in 2021. First purchased in 1984.

1984; 12/29/21 (review)

Purpendicular (1996)

One of my favorite pastimes of late is enjoying past-their-prime releases of known bands. Uriah Heep, Saxon, and... now add Deep Purple to that list. If nothing else, gives me something to look for while combing the thrift shop CD bins. I had a grade on this from before, but I don't remember a thing about it, which tells me I probably heard it real time. Back then I wasn't so keen on these "has-beens" trying to stay relevant. I also didn't give it a chance I'm sure. In reflection, I'm hearing the classic Deep Purple sound 20+ years from their best years. And when one looks at the line-up, it's Mk. 2 with Steve Morse instead of Blackmore on guitar. Which is sacrilege for many, but Blackmore left Purple behind a couple of times, and hasn't looked back since 1993. So what's a band to do - quit? No. Persevere. Bands as brands as I've said many times before. This is pretty much 70s hard rock with Hammond organ (yep, the old warhorse Jon Lord is still banging away on the heavy piece of wood) and Morse providing a more updated guitar approach (i.e. more notes per minute). Gillan sounds great, and his bluesy voice is timeless. Paice and Glover are a machine by this point. Good set of tunes. What else do you need? 

Ownership: 1996 Prominent (CD). Acquired in 2021.

10/22/21 (review)

The Book of Taliesyn (1968)

Clearly Deep Purple were going towards heady waters with a title and cover like this, especially for 1968. In fact, Deep Purple had to make a conscious decision to move away from prog and over to hard rock eventually, and it was there they found fame and fortune. I had my best listen in 35 years this go round (+1). Really appreciating Jon Lord's Hammond organ contributions at this point of the group's career.

Ownership: 1971 Harvest UK (LP). Gatefold. Acquired in 2020.

First copy: Tetragrammaton (LP). 80s press. Acquired in 1986.

1986; 2//05; 10/19/21 (review)

Whitesnake (1987) 

I remember when this album first came out, and the track I heard was 'Still of the Night'. Based on that, I purchased the LP. To great disappointment. And sold the LP in the mid 90s (if not before). Once I saw this special edition, I thought this would be a good chance to hear it again. The CD opens with - you guessed it - 'Still of the Night'. Which is not how the originals started, but makes sense in retrospect. It's a foot stomper of a track. Huge fat chords, heavy beats, and creative passages. It's a no wonder I was drawn to this album originally. And that's pretty much it for that style. Certainly tracks like 'Bad Boys' and 'Children of the Night' bring it as well, and have earned their hard rock street cred. But boy is this an album of the 80s or what? Big hair, beautiful bodies, and little brain use. 'Is This Love?' is pathetic - gee, I don't know - is it? I'm pretty sure the only things these guys would have known is 'Is this Sex?'. 'Here I Go Again' is the kind of track one would think a time traveler would make about 80s music, it's such a caricature of the entire genre. We can criticize this album all day long, but this is exactly what audiences wanted back then. It does have a time and place charm, that's for sure. I'm keeping it. File next to your mousse can.

Ownership: 2007 EMI Europe (CD + DVD). 20th Anniversary Special Edition. Double digipak with four live tracks. Acquired in 2021.

First copy: 1987 Geffen (LP). Acquired in 1987.

1987; 3/6/21 (review)

Warhorse (1970)

The debut of Warhorse is quite a powerful tour de force for 1970. Bassist Nick Simper is the big name here, coming fresh off his firing from Deep Purple. Probably no surprise then that vocalist Ashley Holt is a screamer in the Ian Gillan mold, by then certainly Simper's arch enemy. The band also originally had Rick Wakeman in its ranks, but replacement Frank Wilson pounds on the organ with the best of them. But it's guitarist Ged Peck who steals the show here, and lays out a blueprint for the riffing style that was to come years later. There's little from 1970 that has the pure force of 'Burning', the album's highlight along with the raucous closer 'Woman of the Devil'. Of the seven tracks here, five are excellent or beyond. 'Ritual' is, as other's have noted, a bit too close to 'Mandrake Root' for comfort. 'St. Louis' is the only skip over track as it sounds like Deep Purple playing with.... The Partridge Family. I'm serious! Two small marks on an otherwise brilliant hard rock album, a pioneer of the genre honestly.

Ownership: 1999 Angel Air (CD). Liner notes, photos and five bonus tracks. Four are live versions from the album proper, and the other is the demo track 'Miss Jane', which was best left on the cutting room floor. Acquired in 2005.

2005; 5/4/19 (review)

Warhorse - Red Sea (1972)

Add another name to those who feel disappointed by this effort. I had that somewhat cheap looking Thunderbolt vinyl reissue going back to the 80s, and sold it not long after, as I was nonplussed about the music from the get. However, I picked up the Angel Air CD about a decade ago, and thought it good enough to keep. This relisten validates my initial assessment.

In hearing it again, it becomes obvious why most folks tend to appreciate the album, including myself. The first two tracks are excellent, sounding exactly what one expects of Warhorse: That of Mk. 1 Deep Purple emulating Mk. 2. But the appropriately titled 'Confident But Wrong' shows the frayed strands of creativity, and introduces us to four very ordinary rock and roll tracks that are a slog to sit through. Though the lengthy 'Mouthpiece' looks alluring on paper, one quickly realizes there's not much but a skeleton of a song there, with an overlong drum solo to boot. 'I (Who Have Nothing)' begins to turn the corner with its shrieking Ian Gillan-like pleas, but it's clearly too late, and this warhorse has already sunk to the bottom of the sea. And this would be the end for the once promising hard rock band.

Given the pedigree of the band, this album was somewhat "mainstream" in real time, and was pressed in multiple countries. Surprisingly, though, it did not receive a US pressing.

Former ownership: 1999 Angel Air (CD). Acquired in 2005. Downsized in 2018.

2005; 7/10/16 (review)

Other albums I own: Machine Head; Made in Japan; Who Do We Think We Are; Burn; Deep Purple In Concert

1/1/17 (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)

Quicksilver Messenger Service ~ USA ~ San Francisco, California

Quicksilver Messenger Service (1968)

Quicksilver Messenger Service's debut is an album I'm largely unfamiliar with, despite having a long history with the follow up Happy Trails. It's one of those albums, that if you do find the LP, it's usually been too "well loved" for comfortable listening. So finding this CD for 69 cents allows me a chance to fully evaluate the contents. The album is comprised of six songs, four of them that attempt songwriting, and the other two are primarily jam oriented. For my tastes anyway, the songs flew by without notice. Not memorable or particularly interesting. The jams, however, are the opposite. Not unlike many early 70s Krautrock albums, that were to distill the experimentation and intensity to the next level. Certainly Quicksilver Messenger Service played a role in the development of that, though I'd still submit Iron Butterfly were closer to the prototype. More of historical importance than substantive, Quicksilver Messenger Service represents a time and place quite well. Seems another jam or two would have elevated its reputation even more.

Ownership: 1992 Edsel (CD). Booklet with photos, lyrics, and extensive historical liner notes. Acquired in 2026.

1/5/26 (review)

What About Me (1970)

Of all the bands from the Bay Area Summer of Love, Quicksilver Messenger Service certainly embraced the culture of San Francisco the most. The cover is awesome depicting Haight Ashbury on a ship against the commercial skyline. The back is no less awesome with all the elements that make San Francisco such a great city (good news - it's coming back to excellence now that they have a mayor who cares about the city not just themselves). But it's 1970, and as I've said countless times, the bands coming out of psychedelia didn't know what to do. Country? Folk? Hard rock? Soft rock? Prog? Jazz? Keep going with Psych rock? All of the above, with no focus or great songs. If they had just extended the instrumental sections, then that would have been more preferable. So each and every one of them sunk to the bottom of the ocean while the English bands took over FM radio. What About Me starts off promisingly enough with some flute, and it seems they may be up to some challenging material. If only. Much of this owes more to a drunken saloon rather than a classic rock club setting. One wonders what they were thinking while making this album. No hooks, no edges, and no composition acumen. Apparently it was recorded haphazardly in Hawaii with no discipline whatsoever. It sounds like it. The album sold well despite the lack of anything to listen to. Like with Iron Butterfly, they let their brand name tarnish long before necessary. 

Source: 1974 Capitol (LP)

9/6/25 (review)

Solid Silver (1975) 

I've seen this in the thrifts before, but passed on it. Usually not in very good shape, and it's not exactly a top seller. And there's a reason for that. It's just not very good. Starts off decent with 'Gypsy Lights', but it's clear the band have long shed their psychedelic tendencies and are trying to make it in the mid 70s rock world. The rest of the side is made up of country and boogie rock. Which are probably my least favorite forms of the genre. Side 2 starts off similar, and then the rest is pretty good from a soft rock perspective. One can see the band interviewing for Rolling Stone stating "Yea, we're back together, and this is our best stuff yet. We're really excited." They always say that. And it's rarely true. Throw QMS in the Iron Butterfly and Rare Earth stack - bands that were poised for the big time for many years, but it never materialized.

It would appear the band may have been going for the Yacht Rock scene. The cover displays that they took the budget route instead.

Source: 1975 Capitol (LP)

5/25/21 (review)

Happy Trails (1969) 

Quicksilver Messenger Service are at their best here, just letting the jams fly. Nothing too sophisticated, and songwriting is optional. I wish I could go back and visit San Francisco in 1969. My first time there was in 1995 - long after Silicon Valley had been established. To be fair, I spent many years in the SF Bay Area afterward, because of said industry. It's so hard now to imagine San Francisco as a "city of the Western frontier".

Ownership: 2000 Repertoire (CD). Historical liner notes from Chris Welch. Acquired in 2026.

Former ownership: 1969 Capitol (LP). Reacquired in 2020. First acquired in 1991. Replaced in 2026.

1991; 11//05; 9/23/17; 9/20/20 (review)

1/5/26 (new entry)

The Velvet Underground ~ USA ~ New York City, New York

Loaded (1970)

After being underwhelmed with the third album, I was curious how the follow-up would stack up. Especially considering that it, too, was a pivot from the previous effort. I'd read that it was a more poppy effort, which sounded promising to me given the blasé of the self titled album.

Leave it to the American music industry's "confused year of 1970" to even trip up The Velvet Underground, who were completely rudderless by this point. One of the most experimental bands of the American underground had released a quiet folk album, followed by a real shot at AM / FM radio. Whether they were cynically trying put an album "loaded" with hits (according to urban legend, that's where the title comes from) - or it was a sincere attempt at reaching a larger audience, we'll never know.

For my tastes, this is considerably worse than The Velvet Underground, and I obviously wasn't impressed by that work either. Reminds me of The Rolling Stones in many places, not a comparison I've read too much. Apologists are out in full force for this title, talking about how amazing the songwriting is, and it rates as the 44th best album for 1970 on RYM. The liner notes of the booklet echo this sentiment. As I said about the 3rd album, I feel a lot more work goes into appreciating this album than others that are more deserving of that time and effort. Oh well, we'll put this in the Van Morrison and Bob Dylan category, and walk away with the "he doesn't get it" tag. I don't.

Unlike The Velvet Underground bonus tracks, the ones on Loaded are largely similar to the album proper. 'Ocean' is a noticeable highlight, and sure enough, John Cale plays organ and viola on it. Should have been included on Loaded.

Ownership: 1995 Polydor (CD). Peel Slowly and See box set. Nine bonus tracks.

12/16/25 (review)

 

The Velvet Underground (1969)

I had no intention of listening to The Velvet Underground today. But yesterday I found the 5xCD box set for 69 cents (in mint shape no less). I already have the first two in the collection, and I'll revisit those at another time (one is recent, see below). But I've never heard the next two, nor any archival material. I know they are radically different than the two I'm familiar with, but still are highly regarded. Let's see how the 1969 album goes, and I'll go for the other two in the following weeks (I decided to pass on the 1965 folky demos (Disc 1), that's not for me)

My cynical side tells me that if this wasn't a Velvet Underground album, no one would give a rats about it. But then again, there really wasn't that much like this in the late 60s either. It's almost a throwback to the Greenwich Village folk scene from the early part of the decade. However it has this loner approach, that wasn't to find its audience for another 20 years. It's so different than what had transpired prior you wonder why they didn't just rename the band. Truth of the matter is, The Velvet Underground weren't all that popular in their day. They were more famous than profitable, and none of their albums charted high, if at all. It wasn't until many years later that they found their audience, long after they were an entity. I'm not really a folk nut, much less a lo-fi indie guy. And that's where this album sits. The great exception is 'The Murder Mystery', a lengthy track that hints at what could have been a successful 3rd avant rock album. I do think people work much harder at appreciating this album than they would for some unknown during the same era. RYM, for their part, has this as the 5th highest rated album for 1969. Completely absurd from my vantage point. Would I keep this album were it not part of the box set? Nope. No chance. At least I won't be tempted to keep an original LP if the situation presents itself.

The bonus tracks are primarily culled from the VU outtake comp from the mid 80s. The studio selections were recorded a few months after the album above. They are much more upbeat, with a blues, garage, and psychedelic focus, recalling the earlier sound of the band.

Ownership: 1995 Polydor (CD). Peel Slowly and See box set. Eight bonus tracks.

12/1/25 (acquired / review)

 

White Light / White Heat (1968)

The Velvet Underground's second album is most fascinating to me on how far MGM / Verve were willing to take things in the late 60s. Considering they also had Zappa / The Mothers in the ranks too. This album is as underground as anything ever released in America on a major label - thinking competition would be from RCA's Friendsound for example. Side 2 is just insane really.

I'm also very intrigued by what is considered highly collectable today versus what isn't: Subversive disposition. Whether it be jazz, psychedelic, folk, rock, country, or metal - the less regard one has for civilized society, the more desirable the LP. Especially from the 1950s and beyond. Anything that's mainstream and wholesome has almost no intrinsic value. Doesn't matter what color you are - or race or religion - just be sure to stick it to the man somehow, someway. Sometimes I wonder if the 50 cent records of today will be highly sought after in 20 years (especially after guys like me basically give them away, or even have to toss), and records by groups like The Velvet Underground will all be worthless (or illegal - hey you never know!). Universal consciousness is cyclical. White Light / White Heat is as rebellious as it gets.

Ownership: 

1968 Verve (LP). First pressing. 

1995 Polydor (CD). Peel Slowly and See box set.

1985 (reissue LP acquired); 1995; 4/3/21 (original LP acquired / review)

Also own and need to review The Velvet Underground & Nico

4/3/21 (new entry)

Argent ~ England

Counterpoints (1975)

About four years ago I was on quite the Argent kick. They were a band I largely ignored until finding the live album during the pandemic. That was then followed by Nexus and the box set that possessed their first four albums. I since sold Encore and the box, with the anticipation that I would eventually find the Argent studio albums on vinyl. But that surprisingly didn't happen, and Counterpoints is the first one for me to find in the wilds since 2021. It's also the end of their trio of progressive rock albums before essentially calling it a day as a band. I've put my views on the box set at the end of this post, and perhaps I'll flesh each out individually as I find them. I haven't heard Counterpoints or its predecessor Circus, so it's time for me to get back on the Argent saddle. 

Mellotron on the opening cut, and yes, heavy counterpoint on tracks 2 and 3 immediately point to both Yes and Gentle Giant right up front. The next song sort of floats by and then we're introduced to the jazz fusion side of the band to close out the side. No doubt Phil Collins bringing his Brand X influence with him. Guitarist John Grimaldi gets to show off his chops here. B2 is the type of song Russ Ballard would throw in, so it's placement here is unnecessary for their new direction. B4 is another curveball and reminds me of Santana at his soulful best, complete with mellotron no less.

Interesting to read that both RYM and ProgArchives have this album rated quite low. And I wouldn't be surprised if Gnosis was there as well. It's a mite inconsistent and it doesn't possess any real highs, but it is solid 1975 English prog fare. I also noticed the 3rd track is called 'Time' and I was strangely reminded of the post Spontaneous Combustion group. Perhaps not that all-in progressive, but there are moments that had me thinking about them. Also Druid sort of floated to the top. Yea, I'm keeping this.

One other curiosity: Counterpoints has never been reissued legit on CD. Sure, there's the always questionable Big Pink version, but nothing that screams specialist label. Seems like a rescue project for Wounded Bird or Iconoclassic.

Ownership: 1976 United Artists (LP). Acquired in 2025.

8/30/25 (review)
 

Nexus (1974)

By this point, Argent are two completely different groups. One is lead by Argent and bassist Chris White; the other by guitarist Russ Ballard. And never the twain shall meet. Argent and White are pretty much in full-on Yes territory by this point, and all their compositions are very satisfying. Ballard is busy trying to create hits, though mostly he succeeded at writing some good hard rockers this go round, especially on side 2, which he pretty much owns. I found myself enjoying this one quite a bit.

Ownership: 1974 Epic (LP). Acquired in 2021.

3/14/21 (review)

  

Encore (1974)

All these years later, and I really don't know much about Rod Argent's music. Some of his work with The Zombies of course. And then 'Hold Your Head Up' was still getting regular radio airplay in the late 70s and early 80s. I was always intrigued by that song, though honestly it never seemed to hold my attention for the track length. And that's about all I knew. Their albums have always been easily available, but I never bothered to investigate. So when this double live album found its way to a local thrift shop - and in excellent condition - what the heck, let's blow the $2 and see what happens. As the track lengths indicate, Argent stretches out instrumentally in a live setting, and this works to their advantage - or so it seems. Though I'm not familiar with the studio versions as noted above. The reviews I've read are mixed about this live effort. Argent himself makes these compositions work, with some fine organ soloing and mellotron bits. Of course there's plenty of guitar from Russ Ballard as well. Good place for me to start. I'll definitely be digging in the bins for their studio albums too.

Former ownership: 1974 Epic (2xLP). Acquired in 2020

8/6/20 (review)

Original Album Classics. 2009 Epic Legacy (5xCD). I don't really have much background with Argent, so finding this box set with the rest of the sale was a thrill. I discuss my history with Argent on the Encore post as well as on Nexus, which is the 5th album in this set. And probably my favorite. The debut still has a Zombies leftover psych feel. It's a very good album, though maybe not enough to convince me to pursue further. Along with Nexus, I think Ring of Hands is the best album here. Very strong early progressive rock work, with superb organ and guitar. All Together Now loses some of the momentum, though it features their most known (and excellent) cut 'Hold Your Head Up'. In Deep is even lesser to my interest as Argent are getting further away from progressive rock, and more towards standard radio fare. Fortunately they reversed gears on Nexus. This box set has no bonus tracks to supplement. Since I already have Nexus on vinyl, I can let this one go, and will look for Ring of Hands separately (LP or CD depending on what I find). I don't think the debut and All Together Now would survive on their own, though both definitely are worth checking out.

10/26/21 - 10/27/21 (review)

8/6/20 (new entry)

Santana ~ USA ~ San Francisco, California

One of the most influential guitarists in history, Carlos Santana assembled a high quality group of multi-cultural musicians. Coming from the Mission District of San Francisco, Santana was groundbreaking in many ways. But what really makes Carlos special is that he took his fame and fortune and made a go at high art. His "spiritual jazz rock" phase is nothing short of incredible, before settling back into corporate America. And mostly losing his way ever since. There's a religious metaphor in there I think. How ironic. More updates to come eventually.

Carlos Santana & Buddy Miles - Live! (1972)

One of the more forgotten of Santana's releases is his collaboration with Buddy Miles for a January concert in Hawaii. It's here that you can really tell that Carlos Santana was hankering to dig deeper into his spiritual consciousness. And explore jazz at a deep level as well. There's still plenty of the Santana III rock band styled music here, but Caravanserai is on the horizon. For fans of that phase of his career, this album is pivotal and represents a key transition.

Ownership: 1972 Columbia (LP). With insert. Acquired in 2025.

4/30/25 (review)

Welcome (1973)

Welcome is Santana's 5th album and was released smack dab in the middle of his spiritual jazz rock phase. Along with Caravanserai, Love Devotion & Surrender, and Lotus, it almost defies belief that a major "pop" artist such as Santana would achieve such great heights with decidedly non-commercial music. Which is the primary gripe of the naysayers even today. Intense guitar heavy jamming is not for everyone, and it's understandable that he lost a good portion of his primary audience. My view is the polar opposite. The older I get the more I appreciate Santana and other artists who followed his way. Welcome is not only a jam heavy guitar and organ extravaganza, but it also features some beautiful songwriting. I love the Leon Thomas sung songs, completely at odds with the rest of the album, yet fits the elevated spirituality that was Carlos Santana in 1973. There's the obvious great with tracks like 'Flame-Sky' and the title track. And then there's the beautiful great with 'Love, Devotion, & Surrender', 'When I Look Into Your Eyes', and 'Light of Life'. They are not mutually exclusive. Yet another Santana album that gets a +1. For whatever reason I didn't buy this album back in college with the rest of them. My mistake as it's one of their best. 

The CD features one more great song ('Mantra') that is not to be missed.

Ownership: 2003 Columbia Legacy (CD). Booklet with liner notes and photos. One bonus track as noted above. Acquired in 2005.

2//05; 2/16/25 (review)

Beyond Appearances (1985)

I find it interesting that Carlos Santana never let go of his iconic psychedelic sound. He really could have been the tip of the spear at any kind renaissance of high quality psych and fusion in the 1980s. But he decided to play ball and follow the trends of the day. So most of the songs are boring, with cringeworthy 80s digitalitis sounds. ...and Carlos' beautiful tone when it's his turn. Oh well, he continued to stick with this formula, and it finally paid off for him commercially about 15 years later. 

Source: 1985 Columbia (LP)

7/31/24 (review)

Santana (1969)

The birth of the movement. Latin Rock remains one of my favorite subgenres of music, and I owe a ton of gratitude to a one Carlos Santana. A fantastic guitar player who had the vision to meld Hispanic culture with the ongoing psychedelic and hard rock movements. His group and extended family spawned many imitators, some maybe even better than anything Santana released. While Carlos deserves heaps of praise, the X-factor in the group has to be Gregg Rolie. His soulful voice, songwriting ability, and Hammond organ work is at the highest levels. The juxtaposition of bluesy hard rock soul numbers like 'Shades of Time', 'Evil Ways', 'Persuasion', 'Treat', and 'You Just Don't Care' against the percussive Latin rockers 'Waiting', 'Savor', 'Jingo', and 'Soul Sacrifice' is what makes the debut so special. Rolie was to Carlos what Roman Bunka was to Christian Burchard (Embryo). Taking a great band to a timeless one. Even though I've known this album for well for 40 years, I still managed a +1 listen out of it. It now resides in the very top tier.

Ownership: 

1969 Columbia (LP). 2 eye original. Acquired in 2026. First copy acquired in 1983 (the current pressing at the time).

1998 Columbia Legacy (CD). Liner notes and photos. Contains three bonus tracks taken from the Woodstock concert. Acquired in 2025.

1983; 6/13/16; 11/26/23 (review)

Festival (1977)

About a year ago I had a chance to revisit Moonflower to great results. Would I have a similar experience here? And the answer is a resounding yes. While it doesn't have a jaw dropper like 'Europa' (what does?), Festival is more consistent. The first three tracks are Santana at his absolute best, mixing in his purposely naïve view of the world with molten licks. And so it goes, with his usual mix of ethnic and harder rocking tracks. He pretty much let go of the funk that permeated Amigos. There are two tracks that are too Vegas-y for me 'Give Me Love' and 'The River', which still leaves 36 minutes of great music.

Ownership: 1977 Columbia (LP). Reacquired in 2021. First purchased in 1987.

1987; 8/9/21 (review)

Amigos (1976)

Funny about these albums sitting in the collection forever, that go back to childhood, and yet I couldn't tell you squat about it. I only kept the LP all these years because of 'Europa'. More on that one in a minute. What of the other six tracks, are they really that bad? No, not all actually. Well, save one.

'Dance Sister Dance' is a hybrid classic Santana Latin number with some creeping funk influence. The latter half of this song jams quite well. Which then segues nicely into the album's hidden gem 'Take Me With You', which sounds like early Santana ripping and roaring, until it puts the brakes on for a nice journey on The Love Boat. C'mon now, the girls are pretty and this is the perfect soundtrack. 'Let Me' isn't so bad really. Yes, it's got that Herbie Hancock Clavinet thing going and I could probably go without the "soul sista" chorus that were annoying even back then... and especially now. But Santana is there to lay down a killer lick or two, so it's OK.

'Gitano' is Amigos' contribution to Latin music. There are times when it seems it's about to take off into another killer jam, but it stays within the rails too much. 'Tell Me Are You Tired'. (OK, if you insist). This one is a bit too much funk pop for me, with more soul sista chorus, but not egregious on the whole.

This leads to 'Europa', which is just simply one of the most beautiful - and powerful - instrumentals ever committed to tape. Been hearing it for over 40 years, and I still get goosebumps throughout the entire song. Had it only been 20 minutes.... In any case this leads to...

'Let it Shine', the track that does everything in its power to desecrate the previous - that what was once holy and sacred. I mean I can deal with a little boogie woogie now and then, but seriously this is just plain awful. OK, let's just forget it ever happened. Nothing to see here.

And so with that - an album that is far better than I ever recalled. Glad I kept it.

Ownership: 1980s Columbia (LP). Acquired in 1989.

1989; 11/30/07; 9/21/18 (review)

Other albums I own: Abraxas; Santana III; Caravanserai; Love Devotion Surrender; Lotus; Borboletta; Moonflower; Live at the Fillmore 1968; Blues For Salvador; Santana Live

9/21/18 (new entry)

Golden Earring ~ Netherlands

Seven Tears (1971)

Seven Tears was already the seventh album by the famous Dutch group and yet they were still relative unknowns here in America. It would be another two albums and three years before they finally landed a hit with 'Radar Love'. In fact most of their albums weren't released here either, including Seven Tears (and that remains the case even today). So what does the 1971 version of Golden Earring sound like? Honestly like many of their Dutch progressive rock brethren of the day. Perhaps more towards hard rock or classic rock. The songs are eclectic with plenty of interesting progressions. Great guitar and flute with Barry Hay's distinctive voice. There's some early usage of Moog here too. I tend to prefer Moontan given my familiarity with it, but Seven Tears is in the running for my favorite Golden Earring album.

Ownership: Polydor Netherlands (LP). Later 70s single sleeve pressing. Acquired in 2022.

First copy: 2001 Red Bullet (CD). Acquired in 2002. Replaced with the above.

2002; 12/8/12; 2/5/15; 4/11/25 (review)

Cut (1982)

I always liked the song 'Twilight Zone' which seemed to revive Golden Earring. But that's really all that's here of interest. Fairly standard early 80s blandola.

Source: 1982 21 / Polydor (LP)

6/25/24 (review)

Switch (1975)

Ever since college, I've been curious as to what the Golden Earring albums sounded like after Moontan. This isn't what I expected. A rather mundane set of eclectic rock tunes without much consistency. Nor hooks. It does get better on Side 2, but only enough to take into the good category. Wasted opportunity.

Source: 1975 MCA / Track (LP)

3/15/24 (review)

Eight Miles High (1969)

For many years I had it in my head that their side long version of Eight Mile High was the best rendition out there. But not really. It meanders and features a long drum solo. 'Fraid to say but The Byrds' original is all one needs. I prefer the harder rocking tracks on the original side 1, but I didn't hear enough to keep this.

Former ownership: 1982 Polydor Netherlands (LP). Acquired in 1985; Reacquired and removed in 2023.

1985; 2002; 2/15/23 (review)

Other albums I own: Golden Earring (1970); Together; Moontan (both versions)

4/11/25 (new entry)