Carol Of Harvest ~ Germany

---8/21/01

Carol of Harvest are one of the legends of the progressive rock collecting world. Released on the ultra-private Brutkasten label, Carol of Harvest were destined to be a big collectors item. Frequently praised as the “best prog folk group ever”, the foundation was laid for dealers to fetch four-figure sums. “Acid guitar, long tracks and gorgeous female vocals”. All things considered, Carol of Harvest are a competent late 1970’s German progressive rock band with a slight folk edge. I hear similarities to fellow-countrymen like Rebekka and Werwolf, both considerably less expensive in the day before the CD reissue. Basically, Carol of Harvest blend female vocal-led folk melodies with drawn out prog rock arrangements featuring Moog synthesizer and some complex meters. Throw in some loud acid guitar solos and you have the makings for a super-imaginative record dealer to hype this puppy through the roof. This is no lemon mind you. Plenty of good ideas and original playing to entice the most cynical prog rock fan.

---8/22/26

Ha - look at that, I'm hearing this album again almost 25 years to the day of that review. Totally random. There was another listen mixed in there, as noted on the bottom line. You can sense from my original review a bit of the cynicism of my view of the record collecting world at that time. To correct one thing I said above, Brutkasten wasn't really a label, but one of those DIY imprints like Century, Rite, FLVM, and others. Essentially a private release from a known pressing plant. I'm also dialing back the prog rock tag towards folk rock.

For the music itself, one can appreciate the enthusiasm it garnered back in the day, as the music fit the UK psychedelic folk rock genre like a glove. And the additional synthesizers only add to the allure. For whatever reason that particular strain of folk was extremely popular with record collectors back then. In particular Trees was a leading light. And Carol of Harvest "avoids" the Krautrock sounds of the Pilz era bands like Emtidi and Broselmaschine. The music is very much what one would expect to hear in England from 1972. So the original date puts it out of time and place, yet another bit of excitement for collectors.

For my tastes, it's a rather basic folk rock album with shrill female vocals, excellent psychedelic guitars, and fine synthesizers. Brass tacks I realize, but I never derived much out of the album. I could probably "force" myself to love it, but I could do that with many albums if I tried hard enough. If your tastes run towards folk rock, I would highly suggest you consider hearing this album. It is a cut above the norm.

As for its rarity, it's truly scarce. Discogs alleges that 69 people own it. That's nonsense. Most of those are the 1994 reissue for certain. Even the copies that sold were either that reissue, or missing the record altogether. The guy who has the $11,000 copy, while high, isn't crazy. So yes, buy the reissue. I'll probably let this go, but I just realized I never added to UMR, so here it is.

Ownership: 2001 Second Battle (CD). Digipak. Booklet with lyrics and photos. Acquired in 2001.

First copy: 1994 Brutkasten (LP). Acquired in 1994.

1994; 8/21/01 (review); 5/23/18; 8/22/26 (update / 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)

Minimum Vital (& related) ~ France

Les Saisons Marines (1987)

This was to be the first Minimum Vital album for me to acquire (on vinyl originally), beginning a long relationship with the band. It appears I didn't listen to it with Envol Triangles in 2005, so we'll start from scratch for this title.

From the opening two tracks we obtain our storyline for Minimum Vital's second effort: The Medieval melodies make their initial appearance, the production is still boxy mid 80s, plenty of slap bass, sparse vocals have been added, and Jean Luc Paysson's guitar is way more out front and amped up. Most importantly, the melodic quotient remains high. And I would submit they've improved on the flow, indicating where they would land on their next opus Sarabandes. 'Zappata!' is a brilliant track, and a great way to immerse yourself into the early sound of Minimum Vital.

Ownership: 1992 Musea (CD). Coupled with Envol Triangles minus 'La Scala' (4:35). Booklet with recording details.

1989 (LP acquired); 1995 (CD acquired); 8/17/13; 9/29/25 (review)

Envol Triangles (1985)

---Jun 2005

One of the many exciting bands to have emerged in the mid to late 80's with a cassette only release. Suffers a bit from 80's digitalitis. But the full time flute player makes up for it. Too bad they couldn’t hold on to her for future albums. The bass player's style is also a product of the 80's, with too much slapping for my tastes. In some passages, I hear the 80's California based fusion group Drama. Very much a proto-Minimum Vital album.

---9/29/25

That was 20 years ago, and it looks like I had one more solid listen in between. Without a doubt this is prog music for the mid 80s. But despite the boxiness, Minimum Vital has a special way with melodies. The flow of the album can only be described as pleasant. They had yet to embrace the Medieval era, so it's a bit more generic in a jazz fusion sort of way. It develops like a prog album though, and flashy solos are nowhere to be found. The comparison to Drama is apt. As noted in the original review, flute would have been the perfect complement for the group as they progressed through the years. Adding a half star.

Ownership: 1992 Musea (CD). Coupled with Les Saisons Marines. Booklet with recording details.

1995 (acquired); 6//05 (review); 8/17/13; 9/29/25 (update)

 

Vital Duo - Ex Tempore (2001)

Minimum Vital were (and remain so to this day) one of the key elements of the French progressive rock renaissance that first occurred in the mid 1980s. They blended instrumental fusion, hard rocking guitars, and Medieval themes to create something wholly unique. After five successful albums and countless niche festivals, the engine of the group - the Paysson brothers - decided to cut some trimming and go right to the core unit. Vital Duo was born. A short lived project, Vital Duo managed this one album before going back to their main brand of Minimum Vital.

It doesn't take long to figure out that Vital Duo is the work of the Paysson's. Their distinctive patented sound is all over this, and it makes one wonder what the other band members were contributing in the first place. At the beginning it seems a bit superfluous, but by the time of 'Chanson de Trouvère' you'll find yourself emerged deep within their vision and sound. Jean-Luc provides most of the stringed instruments including some fiery electric guitar, whereas Thierry brings the keyboards. Both sing as they did on their early albums and Jean-Luc covers the drums and percussion. Of those keyboards, the most fascinating and distinctive is the Digital Church Organ, which is the most prominent keyboard here. It plays right into their Medieval concept.

If you're a fan of albums such as Sarabandes and Les Saisons Marines, then Ex Tempore is an easy recommendation.

Ownership: 2001 Musea (CD). Nice booklet.

5//05 (acquired); 7/18/19 (review)

La Source - Huit Chants De Lumiere (1993)

Minimum Vital were, and still are, a highly original progressive rock group coming out of France. The basic formula is take a medieval or traditional French folk melody and add jazz plus rock influences over the top. Digital keys, programmed primarily to the brass sounds, along with ferocious guitar soloing, are the trademarks of Minimum Vital's sound.

By the time of La Source, Minimum Vital had begun to incorporate some pop influences as well, with female vocals out front, and the final result may be a surprise to hardcore fans - but it's a winning formula both musically and commercially.

Ownership: 1993 Musea (CD)

1993 (acquired); 3/8/10 (review)

Other albums I own and need to review: Sarabandes; Capitaines; Pavanes

Other albums I once owned and sold: Esprit d'Amor; Atlas

3/8/10 (new entry)

Claudio Rocchi ~ Italy

Essenza (1973)

---2004

Essenza is Claudio Rocchi's 4th solo album. The first track has phased voices, tablas, droning synthesizers (similar to Battiato's early work), and a little boys voice reciting something in Italian. This reminds me of Picchio dal Pozzo on their debut and sends chills down my spine. Other tracks have flute, sax, organ, piano, and quite a bit of acoustic guitar strumming. Rocchi sings in a very unique way, though not that dissimilar from others of his ilk in the 1970's Italian scene. In fact, parts of this remind me of Sergius Golowin's album considering the obvious stoned vibe. The phasing has a lot to do with this perception.

---8/18/25

And 21 years later I'm back for a revisit. The above review certainly encapsulates my point of view today as well. I didn't mention that there's quite a cast supporting Rocchi on this outing, most notably the duo who made up Albergo Intergalattico Spaziale plus Elio D'Anna from Osanna. The music belongs as much to folk as it does to progressive rock. As noted on Arturo Stalteri's Andre Sulla Luna review recently, Franco Battiato is the reflex comparison though not entirely accurate. Alan Sorrenti circa Aria would be another point of reference. Some of the keyboard work reminds me of Stalteri actually.

Ownership: 1973 Ariston (LP). Gatefold with lyric inner bag.

Not reissued on CD as of 8/18/25.

---

I never did pursue Rocchi's other solo works in earnest. 

2004 (acquired / review); 8/18/25 (update / new entry)

Amon Duul II / Amon Duul ~ Germany

Yeti (1970)

Yeti was yet another very important album in my musical development and appreciation of the European underground. Having acquired the Strand LP reissue in my last year of college, I played the heck out of it throughout the remainder of the 80s. Listens became more sporadic in the 90s and I have no modern line item of having heard it in the last 20+ years. I bought the CD not too long after its release, which tells me 2001 or 02 was my last full listen. Five star albums need more attention than that.

If I'm honest, I've never truly warmed up to the A side. It's Amon Duul II in song based mode, something they were to improve upon later (see my Carnival in Babylon review). Things get much more interesting on the rocking 'Archangels Thunderbird' and the Indian raga turns Krautrock jam of 'Cerberus'. Then the real party starts, as the drugs are kicking in nicely with 'Eye-Shaking King' and a couple of stoned interludes on each side. This all leads to the monstrous side long title track. This is one of those jams that defines Krautrock rather than imitates it. It's the apex jam you envision when you hear the term Cosmic Krautrock. And it delivers in absolutely beautiful fashion. When the first amplified guitar notes hit the speakers you know you're not coming back to this planet anytime soon. This just goes for it in the same way as early Ash Ra Tempel and Guru Guru do. The organ chill out closing is as haunting as the crystal forest you entered inadvertently but don't want to leave. No matter how many modern bands have tried to replicate this sound, there's an underlying atmosphere that just can't be reproduced regardless of how pure their intentions are. The final side continues all of the above, and the closing with Renate's feminine soaring wordless voice, hyperactive drumming, and phased guitar solos will leave you in a heap on the floor. And the floor is where you want to be anyway to enjoy the soothing Indian raga jam with some of the original Amon Duul commune boys including additional flute. Nighty-night.

Ownership:

1970 Liberty Germany (2xLP). Gatefold. Acquired in 2004.

1970 Liberty UK (2xLP). Textured gatefold. Acquired in 2012.

2001 Repertoire (CD). Digipak. Liner notes in German and English. Photos, recording details, and two bonus tracks taken from a 1970 single (great as well). Acquired in 2001.

First copy: 1978 Strand (2xLP). Gatefold. Acquired in 1987.

1987 (first acquired); 1996; 2001; 8/11/25 (review)  

Paradieswärts Düül (1971)

For most of my record collecting life, I've felt like something of an apologist for this album. Amon Duul is the original commune group that was later to spawn the much more interesting Amon Duul II. Most of their entire music output comes from a late 60s drum jam that went on for days it seems. A whopping four albums were culled from these sessions, and all have proven to be difficult listens. They weren't intended for home listening in the first place, and their purpose was that of both artistic freedom and leftist politics. Similar activities were happening in New York City's Greenwich Village and Soho loft scenes during this time.

The exception of course is Paradieswaerts Duul. This is a separate recording, much more pleasant, and in line with some of the folkier outfits of the day such as Emtidi, Broselmaschine, and Hoelderlin. Featuring guests from Amon Duul II and Xhol Caravan, the music sort of meanders along, never in a hurry, but oddly satisfying. Not sure an album like this, taken out of its historical context, would be worthy of so much attention. But it is just this time and place aspect that makes it endearing, and an important part of a complete Krautrock collection.

The CD adds their rare single, and I have that review over at The 45 Revolution.

Ownership: 

1971 Ohr (LP). Acquired in 1987.

1996 Spalax (CD). Triple fold out digi-pak that includes the above SP. Acquired in 1996.

1987; 1996; 10/22/24 (review)

Carnival in Babylon (1972)

I have a friend on RYM that declares: "Sorry, but if you don't like this album, you're stupid". That got a belly laugh out of me. Now maybe I wouldn't have phrased it quite the same way, but nonetheless, there is something to be said for the premise. In effect, Carnival in Babylon sees Amon Duul II go from a stoned Krautrock long form jamming band into thoughtful progressive rock songwriters. Truth be told, the short songs on the first three opus' were mere afterthoughts, and seemed to get in the way of what they did best. There is still some evidence of their past that creeps up here and there, in particular 'Hawknose Harlequin', but otherwise this album is far more subtle in its brilliance. In fact when I first heard the LP in the mid 80s - after already owning those first trio - I was sorely disappointed. It wasn't until years later, that I took the time to understand they were no longer the same beast of the past. 30+ years on, and I'm now of the mindset that Carnival in Babylon is almost on the same level as Tanz der Lemminge, something I would have scoffed at years ago. Special mention should go to guitarists' Weinzierl and Karrer, who both put in exemplary performances for this session.

The CD offers two lengthy bonus tracks, both modern, that are not attributed anywhere. I found these tracks far more interesting than what Amon Duul II has been releasing in modern times, and it shows the band could have continued in a relevant manner past the 70s.

Ownership: 

1972 United Artists UK (LP). Gatefold. Acquired in 2006.

2007 Revisited / SPV (CD). Digipak. History and bonus tracks. Acquired in 2007.

First copy: 1972 United Artists USA (LP). Acquired in 1986.

1986; 1996; 6/19/06; 5/16/07; 12/3/16 (review)

Phallus Dei (1969)

I'll let a four decade plus old newspaper article write my review for me today. Süddeutsche Zeitung said once, which happens to be the largest German national subscription daily newspaper according to Wikipedia: "Amon Düül II is a pop band that needn't shy away from comparisons with Pink Floyd or the Velvet Underground, but they are much better, more influential and more progressive than their English and American counterparts." OK then, my work is done here I think.

As noted below, I own the Sunset release. What's great about this version is the back cover, which is hilarious. Sunset was known for releasing adult pop music. What on Earth were they thinking when they put Amon Duul II on the label with the not-too-disguised title of Dick God? I always imagined some old codger with a pipe, getting excited at the strip-mall record store "Look Edna, a new album on Sunset! I gotta get this!". Imagine the scene back home.

Ownership: 

1972 Sunset (LP). Acquired in 1986.

2006 Revisited (CD). Digipak. Liner notes and modern bonus tracks.

1986; 1995; 6/14/16 (review); 10/19/25

Other albums I own and need to review: Tanz der Lemminge; Wolf City

6/14/16 (new entry)

Pierrot Lunaire (& related) ~ Italy

Arturo Stalteri - Andre Sulla Luna (1979)

Next up on the stack of forgotten albums in my collection is Pierrot Lunaire's keyboardist Arturo Stalteri's debut. Looks like I picked this one up enthusiastically not long after being reissued, heard, filed, and that's the last time I listened to it. In fact I didn't even have it stored in my electronic collection (physically that is), but rather it was in the prog rock section, taking me a bit to even find it.

The eerie keyboard sounds Stalteri produces is most certainly those of Gudrun, but here they are the focus. The music has the Systems feel of Roberto Cacciapaglia or Franco Leprino mixed with a French styled rock aesthetic. Random bursts of electric guitar are unexpected and much welcomed. In this way Philippe Besombes becomes a name checked reference. Franco Battiato must also be mentioned, though perhaps it's more compulsory than accurate. Andre Sulla Luna is most certainly just as influenced by academic classical music as it is Italian pastoral folk. As with Gudrun, the album demonstrates it's more one-of-a-kind than a scene fitter. Random yet exhilarating. An album I didn't have any recollection of, but did give it initial high marks on arrival. That rating stays and now I can justify it as well.

Stalteri is still actively releasing new product and has well over a dozen releases to his name. If I find them in the wilds I'll have to give them a spin.

Ownership: 1997 M.P. (CD). Cardboard sleeve. Booklet with notes in Italian. Includes five bonus tracks that are largely more primitive editions of the LP versions.

1998 (acquired); 7/30/25 (review)
 

Pierrot Lunaire (1974)

Like many Italian prog fans, my first exposure to Pierrot Lunaire was from their avant-garde masterpiece Gudrun. With that backdrop, Pierrot Lunaire's debut is a bit of a shock to the system. The album is a low-key, pastoral, folk influenced progressive rock. Flute, keyboards, vocals, and acoustic guitars are the primary set of sounds. There isn't much here to latch onto, with a low set of dynamics, and yet it's a peaceful 45 minutes of listening. If looking for comparisons, Pierrot Lunaire is more subtle than Saint Just's La Casa del Lago, and less compelling than Errata Corrige, but both are in the same ballpark. Side 2 contains the album's highlights, with the keyboard heavy symphonic piece 'Il re di Raipure' and the hauntingly beautiful 'Arlecchinata' with wordless female vocals. Pierrot Lunaire's debut is very consistent and fortunately there are no low moments to endure. A solid record that comes recommended, though it doesn't predict the brilliance of their sophomore release.

Ownership: 1994 Si-Wan (CD). Liner notes in Korean.

1989 (LP reissue first acquired); 1996; 11/10/14; 8/22/15 (review); 7/18/24

I own and still need to review Gudrun.

8/22/15 (new entry)

Arco Iris ~ Argentina

Agitor Lucens V (1975)

---7/9/09

This is a new revelation for me, and comes as quite a surprise. I always thought of Arco Iris as a new age / Andes Mountain hybrid from the 1980s. Then I was told their 1970's albums were different, so I got ahold of Los Elementales (which is on CD), a very fine fusion album from 1977. 

Agitor Lucens V appears to be unique in their canon. This is one of the best things I've heard in the last couple of years. It's a mite inconsistent, which is part of its charm I think. In some ways, this is Argentina's version of the Lula Cortes and Ze Remalho Paeribu album. And when you find out that their spiritual guide was a gorgeous babe / former fashion model, then you know these guys were tuned into something special.

---5/15/25

Agitor Lucens V was my highest rated album that I still didn't own a physical copy of. For many years this was the case. Even though Sony reissued the album on vinyl in 2020, I held out for an original since the reissue was also very expensive considering postage. Finally the reissue made its way to these shores, and I nabbed one at a relative bargain price.

It's been 16 years since I last heard the album while doing deep research for the CDRWL. As you can tell, the album made a strong initial impact and created separation from others in the stack. So has it held its allure? Oh definitely. Even better actually. Agitor Lucens V is a special album and truly is one of a kind. The album is almost indescribable yet it's mostly familiar within the context of each song. There is little consistency, very much an exploratory 70s styled release. My earlier comparison to Paebiru is accurate on a number of fronts, other than Arco Iris are more in control and professional (well, side 4 does get really out there). In some ways, one could see this being an Italian prog album were they allowed to stretch to a double LP. I first thought of this as I heard the long bluesy guitar jam that closes side 2. It reminded me of Garybaldi. Now mix some of that with Osanna circa Palepoli and you start to paint the picture. For a double album, it's enjoyable throughout, because you're embarking on the same journey as the group. You never know what's going to happen next. These are the best type of albums to have ever been made.

Ownership: 2020 Sony Argentina (2xLP). Gatefold. Sounds like it's been taken from vinyl, so keep expectations in check. Doubt originals sound much better to be honest, though I'd still like to have one. If Sony doesn't have the masters, then hopes for a perfect CD reissue are not likely.

7/9/09 (review); 5/15/25 (acquired / update)
 

Los Elementales (1977)

Arco Iris were always an unusual lot in the 1970s. All of their albums are different from each other, and often times different within the album itself. But not in that trite Beatles way which many bands fell victim too, but rather a much more exploratory element was present. The preceding effort Agitor Lucens V is one of the greats from the South American progressive rock scene, recalling other outsider works such as Paebiru from Brazil.

So when I first heard Los Elementales, my reaction wasn't that much different than some of the reviews I've read. Because it is after all 1977, and jazz fusion was all the rage. And on a cursory listen, that's what Arco Iris are doing here. But close inspection reveals far more than swapping synth, sax, and guitar solos over a breezy selection of tropical tunes. It's much more dense, sometimes angry, often times beautiful. The melodic component is high, and the technical chops are sound. In tow, of course, is their fashion model / spiritual guru Danais (Dana) Wynnycka providing guidance - and perhaps better for the rest of us, a few soft female vocals.

Don't overlook this one if you have a taste for fusion, and looking for something more substantive.

Ownership: 2006 Leader (CD). Digipak. Includes an interview of the band (in Spanish) and a couple of relevant bonus tracks. 

6/10/07; 2/7/14; 7/15/16 (acquired / review)

1/1/17 (new entry)

David Stoughton ~ USA ~ Boston, Massachusetts

Transformer (1968)

---7/29/09

Way ahead of its time experimental psychedelic album. As adventurous as they come for such an early date, I was reminded of other experimental American artists from the same era like The United States of America, Friendsound, Music Emporium, Tim Buckley, Fifty Foot Hose, and The Beat of the Earth. Female vocals, trumpet, guitar, sound collages, and much more. Pure genius.

---5/4/25

More data has emerged since I last visited and wrote about Transformer. Apparently he was a Harvard mathematician (not sure if he was a professor of some sort) and was part of a music group called Cambridge Electric Opera Company, which this album was supposed to be released under. It was a last minute decision by Elektra to only put Stoughton's name and photo on the cover. John Cage was a major influence on the record, Stoughton recalls.

In hearing the album again, the two shorter opening tracks on each side are either psychedelic folk, or an English type of Baroque pop that was popular in the era. A3 is very similar to the experimentalism of Friendsound. And B3, while also experimental, does mix in some coherent psychedelic music. 

It's interesting to see the willingness of major labels to capture a larger audience during the late 60s. Transformer is hopelessly non commercial, but such were the times. By 1970, major labels weren't sure what to do, which is why I often called it the "confused year". By 1971, Corporate America had controlled the market and focused heavily on financial returns. That would be the state of affairs until it all broke down in the 90s when technology allowed everyone to participate. Today albums like Transformer are released regularly, but to niche markets, which is the proper approach.

This same article goes on to state: "Transformer... remains unpopular outside of what the musician calls "a small but dogged core of [online] music lovers who are interested in the extreme music of the '60s". I would agree with Stoughton that the album has found its audience due to larger global exposure. But I disagree with the influencer that it remains "unpopular". Who would know really? Seems popular enough on the websites I visit. I would say "unknown" is appropriate here. It's a polarizing album though, as is Friendsound, so yea it's not for everyone that's for sure. I enjoy it quite a bit, though I wish some of the experimentalism had been dialed back and they included more songcraft instead. Stoughton was good at writing tunes, so nothing to cover up.

Ownership: 1968 Elektra (LP)

No reissues exist as of 5/5/25.

12/20/07 (first listen); 12//08; 7/29/09 (acquired / review); 5/4/25 (update / new entry)

Pink Floyd (& related) ~ England

Many consider Pink Floyd the greatest band of all time, and Dark Side of the Moon the greatest album of all time. I don't agree with either assessment (though I own two copies of the album in question) but it's not hard to understand why both of these remain true. Pink Floyd are not an easy band to pigeonhole, and they went through various incarnations of sound and style. Some I love, others I find incredibly dull and boring. I've heard most of their output, including various solo albums. But I haven't documented them all (by a long shot). This post will be updated and forwarded many times before I'm done.

Richard Wright - Wet Dream (1978)

In the not-so-distant past yours truly ran a global project management organization. One of my employees was a good PM as an individual, but not a great one. I had to step in on occasion to handle escalations, and there were even calls for me to let her go. I said "no way" as she's a major key to my team's success, even though I had many better PM's no question about it. They were bewildered by that observation. What she lacked as an individual contributor she more than made up for as a team player. I saw her as a key pillar of why we were successful. Her peers loved and respected her. She is who made the team - a team. And she was 100% supportive of my initiatives even if she struggled to implement them herself. Not for a lack of trying, we're all different. That's how I see Richard Wright. I feel the same way about George Harrison of the Beatles and Led Zep's John Paul Jones. As individuals they're good players and decent songwriters. As part of the larger collective they were the secret sauce. What makes a good music group great is the input of everyone, not just the leaders. And that applies to business as well. So that's my take on Wet Dream. It's a fine, slightly mellow, mostly instrumental album. Nothing special but certainly not a disaster. Wright is a team player not a solo star.

Source: 1978 Columbia (LP)

4/8/25 (review)

The Division Bell (1994)

I've clearly avoided writing about any of the Floyd albums post The Wall (and including that album which I don't like). I'll try to make a concerted effort to get down a few words at the very least going forward. One wonders what the point of superstars like Pink Floyd putting albums out like The Division Bell? It's not a terrible album by any means, but it's just so... so... ordinary. Gilmour gets in some nice bluesy licks, and Mason is mailing it in on the drum kit. He was never a jazzer, but c'mon, I could play drums on this album. And I don't how to. There's some smooth jazz, and more than a few references to Dark Side of the Moon, trying to capture a moment in time from 20 years prior. 30 years on from that, it just looks like a desperate writer turning out the same scripts from their blockbuster New York Times Bestseller from the 70s. Boring and unnecessary.

Source: 1994 Columbia (CD)

2/26/25 (review)

Obscured by Clouds (1972)

The last of the classic Pink Floyd albums for me to reacquire. And the first back out the door. I thought I liked this one more than I do. Atmospheric, but ultimately dull effort. I think had it been totally instrumental psych I'd be more enamored with it (and there is some of that). Maybe if I find a cheap cassette or CD I'll hold onto it, but I'll take the money for the LP. 

---1/26/26

I did find it on CD, but it did not change my opinion. I did notice that elements of Dark Side of the Moon were becoming apparent on Obscured by Clouds. In that way, the album is historically significant.

Source: 1972 Harvest (LP)

8/13/24 (review)
 

The Piper at the Gates of Dawn (1967) 

Famous psychedelic album from the creative mind of Syd Barrett. Sort of random in its songwriting approach, it is just that quality that makes this album special. Clearly (ironically) it came from an addled mind. Bizarre and completely out of left field for 1967. Pink Floyd never really sounded like this again once the remainder of the brain trust took over, though there are elements on Saucerful of Secrets. One of a kind.

Ownership: Columbia / EMI Germany (LP). 70s pressing. Acquired in 2022.

First copy owned: A Nice Pair 1983 Capitol (2xLP). Acquired in 1985.

1985; 7/21/23 (review)
 

Wish You Were Here (1975)

I knew I had this album rated too high. And sure enough a -1 ensued, putting it right into the 11 category. Not first division for me. But I have to say that Richard Wright's synthesizer performance here almost pulled it over the threshold anyway. He really should have spent some time with Klaus Schulze. Who knows what he would have conjured up if he had. 'Welcome to the Machine' still captures my imagination though - a brilliant track. Even with this critique, I'd offer that this album is my favorite Floyd except for album #1 of Ummagumma. A very important release by a band that were selling out arenas and were incessantly played on the radio. Not a commercial album at all, and yet they managed to make it one. Impressive.

Ownership: 

2011 Harvest (LP). Outer bag packaging, and all sorts of other goodies like posters and postcards. Much better than my original 80s commodity LP that's for sure. Acquired in 2011.

2000 Capitol (CD)

First copy owned: 1980 Columbia (LP). Acquired in 1985.

1985; 2/15/23 (review)

Ummagumma (1969)

If there's a single source that one could point to as the origin of cosmic Krautrock, I think Ummagumma may very well be that album. Along with their Dutch counterparts Group 1850 - and a shoutout to Frank Zappa's Hot Rats - you can hear the sounds that Germany took and ran with in their earliest days, especially the bands circling the Ohr label. Depending on one's view, Ummagumma is a live album with bonus tracks - or one cohesive album with a completely different focus for each disc. I think it's best to take the former approach, and it's the live album that is significant here.

There are very few albums that possess two bona fide monster tracks, but here we have what I consider the definitive versions of both 'Careful With That Axe, Eugene' and 'Set the Controls for the Heart of the Sun'. The former is a textbook example of how to build a solemn mood and then absolutely destroy it with one of the most intense climaxes in history. 'Set the Controls...' is about as trippy a number as you can find on any album, anywhere. If Pink Floyd were some obscure group that few had heard about, and these numbers were played back for the first time, it would be a natural reaction to think it was German made. 'Saucerful of Secrets' is no different from an atmosphere perspective, and in fact one could point to none other than Ash Ra Tempel's Schwingungen side longer as but one follower. The opening track is 'Astronomy Domine', the Syd Barrett composition that makes one wonder what direction would have the Floyd gone with him still at the helm.

The other album could best be described as "guys dickin' around in the studio". Which is not to say the album is worthless, as there's some good moments to be found from all four. They would have been better served to distill the best parts (if they would even know what those were) and disperse it evenly around the album. Similar to what Yes did on Fragile a few years later. Because it's separate like this, and the very nature of the type of music being presented, this is why I think it's best to view them as bonus material versus a part of the main album. Otherwise my score would be lower in aggregate.

Ownership: 

1986 EMI / Harvest Germany (2xCD). Fatbox. One of the first LPs I replaced with a CD, and even today, that decision makes total sense to me. Some albums were meant to be on CD, and this is one of them. I reacquired the LP later just because.

Harvest (2xLP). 70s pressing. Gatefold. Reacquired in 2019. First acquired in 1985.

1985; 8/7/22 (review)

Animals (1977)

I'm not sure I've heard this album since the late 1980s, even though I've consistently owned a copy that whole time. For me this is the end of the Pink Floyd I enjoy. I never could stand The Wall, an album I've had a chance to revisit in the last three years. I'll never understand its allure beyond a couple of good tracks. Animals, however, is their final non commercial stance. Not to play on titles here, but it's also dog slow. This is music to kick back, turn down the lights, and absorb. It misses the dynamism of its predecessor, and is not an immediately likeable album. Which I believe is the point. Gilmour gets a chance to really shine here, and taps into his late 60s blues repertoire. It's one of a kind in their discography. Even though it's been 30+ years since I last heard it, I felt like I knew the contents anyway. And the rating of excellent remains unchanged. Love the industrial Britain gatefold cover with the flying pig. It's wall worthy really.

Ownership: 

Columbia (LP). Gatefold. 80's pressing with barcode. Upgraded in 2024. First copy acquired in 1985.

1995 Columbia (CD). Acquired in 1996.

1985; 1996; 1/21/22 (review)

Meddle (1971)

Well, you all know this album. Features two excellent proggy space rock numbers in 'One of These Days' (the only song from this album, incidentally, you would have heard on the radio back in the day) and 'Echoes'. And then there's four rather boring folk rock tracks sandwiched in between. These are far more prosaic and backporch-y than the mystical dazed folk of More, for example. They're definitely no longer a psych band by this time. I particularly enjoy the second movement (as it were) of 'Echoes' with its excellent organ and guitar jam. The interesting aspect of this album is just how ordinary it is for 1971. No doubt that Pink Floyd were major influencers throughout the 60s. But on Meddle, they seem to be followers. There's many more examples of music like this from 1970 and '71 that is much more interesting. And this blog is full of them. After this, it seemed Pink Floyd realized this situation as well, and went about making Dark Side of The Moon. I'm not really a fan of the latter, but it's hard to argue that it wasn't groundbreaking. They were leaders once again.

Ownership: 

1986 Capitol (CD). In the summer of 1986, I was working as a summer intern at a major US government military defense contractor in the Dallas area. It was a great gig, and I was very lucky to get it. I had mediocre grades (electrical engineering, to be fair...) and not much else going for me. But a very close buddy of mine's dad was one of the four owners of the company (see Al Di Meola's Elegant Gypsy post for more about this friend). Yes, it's true, it's who you know... In any case, I did thrive at the job, and was making serious money for a 21 year old intern. So what does a 21 year old dude in 1986 with money do? He buys him a new stereo, that's what! With a CD player! Wow - I was rich. We forget now how expensive CD players - and CDs - were at the time. Of course since I bought a new player, I needed product to go with it. There was a limited selection of CDs at the time. And, of course, there's no way I'm buying a CD of something I already have on LP. Meddle was one of the few Pink Floyd albums I didn't have at the time. So... it was the first CD I ever owned! In fact, it's so old, it has a smooth jewel case with no ridges. Those have become collectible now too, of all things. 

7//86 (CD acquired); 8/28/21 (review)

The Early Tours '70-'71

Title is a misnomer, as apparently the music here was all taken from one concert in Amsterdam on June 26, 1971. This is certainly prime Pink Floyd, though it only includes the music they were doing in 1969. I have to trust that the source credit is correct (from Discogs - and I'm sure other established bootleg sites). The titles don't actually reflect the songs here, but most of this is on the live side of Ummagumma, which is my favorite of all the Floyd albums (just disc 1 mind you). The other tracks are an extended version of 'Cymbaline' from More, a track that otherwise I was not familiar with. Its placement here is perfect though. And finally 'Embryo', a track that you find almost exclusively on live bootlegs. It too has the perfect "Cosmic Krautrock" sound - I say that in deference to Pink Floyd being probably the most influential of all bands for that scene. 

Ownership: 1976 Space (LP). Acquired in 2021.

7/7/21 (review)

More (1969)

This is Pink Floyd at their druggy drifty best. This is the sound that Dom perfected on Edge of Time. I'd heard this album back in the day, but I was way too impatient for music such as this back then. I find side 2 the better of the sides, as it really captures the ethos of the times. Mostly acoustic guitar, tribal drums, and low-fi keyboards, with sparse vocals and the occasional rockin' burst. Love the trippy image windmill cover.

Ownership: 

1973 Harvest (LP). Acquired in 2026.

Capitol (CD). Acquired in 2025.

7/13/21 (acquired / review)

Relics (1971)

I've never owned Relics before, and my memory had this as a compilation. Which is true, but not a typical one. Today you can get most of these on a more modern CD reissue, but I don't have them, so this worked out perfectly. Relics is for fans of 60s Pink Floyd, and that's my favorite era of the band. Five of the 11 tracks are on studio albums, and the others come from rare singles and comps. Just having the studio version of 'Careful with That Axe, Eugene' makes it worth keeping, and the other tracks are great as well.

Ownership: Sounds Superb Belgium (LP). Acquired in 2021.

6/20/21 (review)

Albums I own and still need to review: Saucerful of Secrets; Atom Heart Mother; The Dark Side of the Moon; A Momentary Lapse of Reason; two different multi-disc bootlegs; David Gilmour

8/28/21 (new entry)

M.I.A. (Músicos Independientes Asociados) ~ Argentina

Magicos Juegos del Tiempo (1977)

M.I.A.'s second album is quite a departure from the albums it's sandwiched between. The debut is a progressive classical romp in the ELP tradition. And Cornonstipicum is one of the all-time great progressive rock albums, perhaps the best ever from Argentina. But Magicos Juegos del Tiempo is much different - a progressive folk album for the most part with a few diversions into the world of prog and even a bit of loose psych jamming. There's nothing to call out as extraordinary but it's a pleasant listen throughout. But they left no indication where they were to go next.

Ownership: 1977 Ciclo 3 (LP). Single sleeve with booklet attached to the front. As you see in the Discogs photo attached. if done properly, there are two pieces of specially designed tape to slip the booklet in and out. Fortunately my copy was assembled correctly. 

6//93 (first acquired); 2/12/12; 10/7/24 (review)

Transparencias (1976)

Classically trained pianist Lito Vitale leads the Músicos Independientes Asociados bunch through one of Argentina's first true symphonic rock albums, when everyone else in the country were still mired in the blues. He mixes complex progressive rock with classical interpretations to create his own brain salad surgery. So yes, of course, Keith Emerson rises to the front of the influence line, as he had for many a budding keyboardist in the rock world. Side 2 brings forth a bit more jamming and hard rock to the mix, and probably could have been tightened a bit. So the album certainly has its flaws - it's painful to sit through Pomp and Circumstance at graduations much less for my own enjoyment. But let's give the kid a break, eh? I mean, he was 15 years old when he showed up on the world stage. What were you doing when you were 15? I most certainly wasn't putting out fully realized progressive rock albums with sick piano chops, that's for sure. It usually took me a few minutes just to take the shrink wrap off the LP. Still does actually...

Anyway, MIA were to improve from here, and then lay down one of the all time greats in Cornonstipicum two short years later. When he was an old man at 17.

Ownership: 1994 Belle Antique (CD)

1992 (first acquired); 1995; 4/17/10; 12/24/16 (review)

I still need to review my copy of Cornonstipicum.

12/24/16 (new entry)

Samla Mammas Manna (& related) ~ Sweden

Kaka (1999)

I bought this when it came out and gave it quite a few listens on my commute to work back then. I had high hopes that it would have aged well for me. But unfortunately it didn't. It's true to their legacy, and mixes progressive rock with carnival like sounds and motifs. I kept a few of the classic 70s / 80s Samla / Zamla works, so this one becomes superfluous. 

Former ownership: 1999 Amigo (CD). Acquired in 1999. Downsized in 2024.

1999; 5/1/24 (review)

Klossa Knapitatet (1974)

I go back and forth on this title. Some of the instrumental work is divine, but there's plenty of room for circus and silliness too. Those styles don't age as well for me. What was I saying about some albums don't inspire me to write much? 

Ownership: 1974 Silence (LP). No insert. Acquired in 1999.

1999; 2/1/22; 1/17/23 (review)

Måltid (1973) 

Samla Mammas Manna are a difficult band to pigeonhole, somewhat like contemporaries Arbete och Fritid and Archimedes Badkar in that way. They mix rock, folk, humor, jazz, and other unidentifiables into a very satisfying stew of progressive rock goodness. At times they seem ready to rip off a cool jam, but always pull back, never really wanting to associate with traditional rock tropes. It's not surprising to know they were a charter member of Henry Cow's Rock in Opposition troupe. They answer to nobody, and sound like no one. With any kind of music like this, there are some off bits to endure (including some cartoonish vocals), but mostly this one stayed in the rails. Which can't necessarily be said for all of their albums (though most are satisfying). In later years, the avant prog tagged would be appended to bands such as these, but I hear Samla far more organic than the usual cold and sterile albums that proliferate that scene. Great album artwork as well.

The CD offers bonus tracks, but it's weird how the label (or the band) did them. The first one 'Minareten II' is a shorter version of a track on the album, and a bit rawer. It's quite good. The last track 'Probably the Probably' is definitely bonus fodder, and not something to make you want to keep it. The middle of these three is the opening track on their debut album, which makes no sense.

Ownership: 1973 Silence (LP). Acquired in 2000.

2000; 1/8/22 (review)

Von Zamla - No Make Up! (1983)

Second album from international version of the zany S/Zamla Mammas Manna bunch with ties to Albert Marcoeur’s group. Featuring an expanded lineup of six, including Univers Zero reeds man Michel Berckmans, No Make Up! is undeniably an avant progressive tour de force. The album opens, interestingly enough, with ‘Forge Etude’, a rework from Zamla’s (then) final album Familjesprickor. A rarely mentioned fact, possibly due its obscurity, is the relationship of Von Zamla with the German fusion band Munju during this period. Both recorded for the German based JA&RO label (aka Exil). And not only do they share a full time member, bassist Wolfgang Saloman, but Berckmans also played extensively on Munju’s Le Perfectionniste album. This collaboration is reflected on the third track ‘Für Munju / Indojazz’, one of the livelier pieces on No Make Up!. Throughout the album, it’s once again Lars Hollmer’s familiar accordion, that drives most of the Nordic European style folk melodies. The ensemble work is tight, in typical chamber music fashion, with the aggressive rock edge provided by guitarist Eino Haapala, the same role he played for the Zamla clan prior. It’s fair to say that most of the groups in the Rock in Opposition camp find it hard to avoid some crazy improvisation, sort of their bitchslap to the establishment. Here Von Zamla only utilize one piece for that, the unbelievably irritating (and mercifully short) ‘Voice Improvisation’. Fortunately the remainder of the tracks remain composed, energetic and satisfying. No Make Up! was slotted to be reissued on CD in 1998, but for reasons unknown, did not happen.  Highly recommended to fans of the original RIO movement, the collective avant progressive sound, and those who have recently arrived through the Nordic front door via the Northside label.

Former ownership: 1983 JA&RO (LP). Acquired in 2008. Downsized in 2020.

Still no CD as I update this (5/28/26).

2008; 1/9/20 (review)

Other albums I own: Familjesprickor; Von Zamla 1983

1/9/20 (new entry) 

Wendy & Bonnie ~ USA ~ San Francisco, California

Genesis (1969)

Last night I followed up my listen of Master of Reality with... Wendy & Bonnie. Of course I did. A reverse one-two punch I suppose. 

Quite simply Genesis is one of the most beautiful and "pure" albums ever made. If this album doesn't make you melt, you really ought to seek therapy with your anger management issues. The Flower sisters (their real last name if you can believe it) are the epitome of late 60s psychedelic innocence. Every single track is beautiful, from the soft drifty folk numbers to the more energetic psych rock dancers.

I've owned this album for 34 years, but it's only now that I'm realizing that it was 100% within the universe of Gary McFarland and Gabor Szabo. It's only been in the last five years that I've become enthralled with the latter. And now the album makes sense. The San Francisco based Flower family were friends with Cal Tjader, one of the co-owners of the Skye label (along with the above two gentlemen). This is why Genesis is so unique - a combination of young talented teenage girls with professional jazz musicians. According to the liner notes of the CD, McFarland and Szabo were a great support and offered guidance throughout. Not to mention providing A-lister jazz musicians to the recordings. Had the label not run into financial trouble, it's very well possible Wendy & Bonnie would be household names today. The Free Design would be about the only guidepost I can offer here, and even they were a distant type of sound to what is on offer here.

Stunningly beautiful in every way possible.

Ownership:

1969 Skye (LP)

2001 Sundazed (CD). Liner notes. There are five bonus tracks, but only one is of keen interest - a rare acetate by a predecessor band called Crystal Fountain. The other four are primitive outtakes.

1990 (acquired); 2001; 3/16/10; 1/6/24 (review / new entry)

Culpeper's Orchard ~ Denmark

Culpeper's Orchard (1971)

One of the legendary albums when I started collecting, Culpeper's Orchard's debut sits at the border of progressive rock, folk, and hard rock. Its reputation is probably better than it subjectively is, but it's still an excellent work throughout. 'Your Song and Mine' and 'Mountain Music Part 1' are superbly crafted while many of the other five minute plus tracks are quite accomplished as well. The shorter songs are mostly pure folk. It's an "early days" type of release, so its prog quotient is relatively low, and there's plenty of leftover psychedelic jamming going on here. Sometimes an album goes under the heading of simply "good music". That's Culpeper's Orchard.

Ownership: 1971 Polydor (LP). Thin gatefold. Acquired in 2005. 

First copy: bootleg (LP). Acquired in 1988 and long gone.

1988; 2009; 9/22/23 (review)

Previously owned: Second Sight

9/22/23 (new entry)

Jethro Tull ~ England

Thick as a Brick (1972)

For whatever reason I keep thinking I have this "over" rated in my collection. It's not a masterpiece is it? Yea - it is. I didn't even bother to keep Aqualung after a recent listen, and Benefit is barely hanging on. Starting to think that Thick as a Brick is an outlier versus a progression. To my ears they were great underachievers, which is sort of a backhanded way of saying they're very good but they should have been the best of the best along with Yes and Genesis. My opinion of course, I know many feel Jethro Tull were just that - the top tier. Anyway, this album continues to blow me away, some 40+ years since first hearing it. Had Tull put together a four or five album run like this, I would consider them as one of the all-time greats. This album, however, is first division.

Ownership: 

2001 Chrysalis Japan (CD). Papersleeve edition with all the original goodies. Has two bonus tracks including an interview. 

1972 Reprise (LP). Gatefold with newspaper. Acquired in 2020.

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

1985; 2005; 2/19/23 (review)

4/18/23 (new entry)

Altitude - Burning Love. 1980 USA-Colorado

Now here's a very interesting little record. As soon as I saw it I was intrigued. As long as it wasn't Heyseus Christo music, I knew it was money. The back cover is the total giveaway that this was the good stuff right here. As you can see they were from my current hometown of Colorado Springs. I wasn't here in 1980 (wish I was), but my image of Colorado back then would be the front cover. They look like a nightclub act playing either at the Broadmoor Hotel or the Little Bear Saloon in Evergreen (a wide range indeed). The music has elements of yacht rock, radio friendly AOR, folk, hard rock, 80s New Wave, and even prog if you can believe it. That guy in the blue leisure suit (as a friend observes "looks like he's a manager at a steakhouse in Iowa") actually possess quite a bit of talent. You'll hear him wailing on the electric guitar, playing mandolin, bass, and flute. The pretty lady on the front brings the keyboards (including synthesizer and organ) and they both sing. A1, A5, B1, B3, and B5 are your focus tracks. Any one of them could find themselves on a well researched compilation. The other tracks are more middle of the road, and seem to be crowd pleasers for the club drinking set. The closer 'Same Old Scene' is the prog number and it's quite accomplished all things considered. If evaluating the album, one really needs to place themselves in a Colorado that barely exists anymore - when smoky taverns ruled supreme, and your audience was a mix of ranchers, outdoorsmen, and oil workers. And a few hippies coming down from Boulder. It's not overly consistent and there isn't anything here that will blow you away. It's the essence of the American private press experience. I love finding records like this.

Ownership: LP: 1980 Cascade. Single sleeve. Thrift shop find (2022). This copy is still in shrink and is signed on the back by the two protagonists plus one of the sponsors. There was also a sealed copy which we will be selling at some point in the future. Hard to gauge a price. It's still relatively unknown. Hope to find more!

8/22/22 (new entry)

Parzival ~ Germany

Parzival (1971)

Legend is unique among German folk rock albums, in that it's more in line with the English progressive folk rock movement. As such, these albums have long been held in high esteem from worldwide collectors who prefer the UK progressive style and lyrics in English. Only on occasion do Parzival play it straight, and long stretches of instrumental fancy are on display. With flute, violin, acoustic guitar, cello, viola, driving electric bass and drums, and piano, the instrumental palette is rich and the music is at times complex. The one anomaly is Groove Inside, which for me is the highlight of their canon. Imagine an instrumental kosmische Comus caught in a deep groove trance for 16 minutes. It's an amazing piece, and if the album in total was entirely like this, no doubt Parzival could have found themselves on the Ohr label.

Ownership: 

1971 Telefunken (LP). Gatefold. Acquired in 2012. 

1998 Telefunken / EastWest (CD). Booklet with history in German + photos. Features one track from a 45 plus two short demos from 1969. Acquired in 1998.

First copy: 1975 Nova (2xLP). A German Rock Legend with Barock. Acquired in 1994.

1994; 1998; 6/22/14; 7/19/22 (review)

Barock (1973)

For years, I'd thought of Barock as a much more inferior and straightforward folk rock album than its predecessor. On a careful listen, it's obvious that this album too possesses many delightfully odd moments, and some truly excellent progressions. In particular tracks like 'Black Train', 'Scarlet Horses', 'Thought', and 'Paradise' all feature more than enough twists and turns to keep a progressive rock fan happy. The shorter tracks act more as incidental interludes.

On a personal note, of the two band leaders, a one Lothar Siems, is most assuredly a distant cousin of mine. See, my mother's maiden name is Siems, and the family history was for hundreds of years in and around the Bremerhaven area of far northern Germany. Given that Parzival are from Bremen, only a short way south confirms that. Besides, he actually looks like some of my cousins...

Ownership: 1973 Telefunken (LP). Acquired in 2017.

First copy: 1975 Nova (2xLP). A German Rock Legend with Parzival (1971). Acquired in 1994.

1994; 9/10/99; 5/18/13; 6/22/14 (review)

6/22/14 (new entry)