Bluestone Company ~ Japan

Supernatural Delight (2008)

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

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

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

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

Get this one.

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

6/23/26 (review)

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

6/23/26 (new entry)

Robin Trower ~ England

Bridge of Sighs (1974)

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

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

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

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

Ownership:

1974 Chrysalis Germany (LP). Acquired in 2021.

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

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

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

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

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

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

 

Passion (1987) 

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

Source: 1987 GNP Crescendo (LP)

4/10/24 (review)
 

Twice Removed from Yesterday (1973)

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

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

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

7/21/19 (review)

Victims of the Fury (1980)

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

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

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

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

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

7/21/19 (new entry)

Sweet ~ England

Sweet VI (1980)

As late as the spring of 1980, age 15, I continued to be loyal to Sweet and purchased this album. I did enjoy Cut Above The Rest, an album I kept all these years and will review at some point. I do recall it being a bit problematic though from a consistency standpoint. Also, during this era, I was starting to go whole hog for heavy metal and some of the more energetic of the hard rock bands. And prog was right around the corner for me. Sweet was one of those hard rock bands, especially in the mid to late 70s, that I quite enjoyed.

All I can remember is that Sweet VI was a disappointment and I'm not sure it even made it to college with me some three plus years later. A friend here in town had a copy, and he owed me some trade, so let's hear it again and see if it's something I should keep this time.

I don't think Sweet knew how to fit into the 80s. They just couldn't let themselves go all-in for hard rock, and they really could have gone metal at this point, and likely would have met great success like the Scorpions did. It's humorous to note that Sweet's last album was called Identity Crisis, an album I've never heard. So back to VI, known as Waters Edge everywhere else (no idea why Capitol didn't keep that name). A1 is an example of a former bubblegum band trying really hard to be a... bubblegum band. By A3, Andy Scott was already tired of that and lays down some fat heavy guitar riffs. A4 sounds like Queen or ELO, depending on how you hear it. They now have a part time keyboardist, and one presumes this is his influence. And so it goes mixing their peculiar brand of AOR with hard charging guitar rock.

I can appreciate this album far more than when I was 15. That said, I still can't justify giving this shelf space as I continue to downsize the collection. Glad to have revisited it though.

Former ownership: 1980 Capitol (LP). Reacquired in 2026; First purchased in 1980.

1980; 5/21/26 (review)
 

Action / Medussa (1976)

'Action' is the same tune that opens Give Us a Wink and is a fantastic example of the superb hard rock goods that album brings.

But the real draw here is the American Capitol release that contains 'Medussa'. I hadn't heard this track prior and it's a must for Sweet fans - and hard rock fans in general. A well penned song, bordering prog combined with the traditional Sweet chorus sound. About halfway through Andy Scott starts to riff some chords. Not long after that an entire instrumental sequence lifts off. Scott goes wild on the guitar solo, while the rhythm section is going through some complex time changes. Very kinetic! I've never heard Sweet sound like this. And it has to be Scott's wildest solo on record.

I've just been informed this is 'Medusa' on the European versions of Desolation Boulevard. I've never heard that album, which is much different than the American version on Capitol.

Ownership: 1976 Capitol (SP). Acquired in 2025.

4/1/25 (review) 

Level Headed (1978)

Sweet were one of my early favorite groups. Level Headed was their new album at the time and 'Love is Like Oxygen' was the track getting regular airplay - a song I enjoyed immensely. We'll get to that soon. On the first day someone could shuttle me to the mall (I was only 13 at the time), I waltzed into the two record shops to purchase the album, only to find they were sold out. I decided to buy the album before it - Off the Record. I enjoyed that album (to be discussed another day), though I won't say I was blown away by it. I had one friend back then who was also into music like I was, and he did find Level Headed. Neither of us were overly impressed, and I decided to forgo buying my own copy. Not long after, I bought Desolation Boulevard (US version of course) and Give Us a Wink and those two solidified my early fan status.

Since I recently made the decision to pick up old commodity LPs from my youth (must be found in a store, and very inexpensive - or trade), I thought Level Headed would be an early score. As but one example, I walked into a local store and bought a stone mint Saga's Heads or Tales for $4 at the beginning of this adventure. But Level Headed had proved to be elusive. Again, I'm not going to mail order these things - that would have been too easy. Finally, after two years, I secured a copy - and it was properly discounted in the budget bin. Perfect.

So what of Level Headed, and where did my initial resistance come from? Right from the beginning, that's where. Even today, I find little to embrace about the opening three tracks. They're OK of course, but the melodies aren't striking, and gone is the hard rocking Sweet that I enjoyed. It's not until 'Fountain' that things begin to improve dramatically. Then comes 'Love is Like Oxygen', one of God's gifts to music. It's such a bizarre tune really - and how it became the "hit" off the album is even more puzzling. Starting off with power chords (finally!) Sweet sings in a high pitched but odd styled harmony. This is followed by some Brian Wilson like mellow interludes that raise the hair on your arm. The mid section then shows that Sweet may have had a fondness for Camel - as they totally go prog here. This leads back to the power chord section. And finally, the album closes with a cool funk bit (que?). What the heck did I just hear? None of it makes sense, but I think it's brilliant. No wonder I was drawn to this at a young age. Side 2 starts of in a Gryphon-goes-pop manner (which by that time was the sound of Gryphon anyway). There's a couple more middling tracks which leads to the other great track from the album, it too a side closer. 'Air on 'A' Tape Loop' is about as strange as 'Love is Like Oxygen'. This time it's a groovy instrumental with only harmony vocals on top - as if Deodato had walked in for a cameo.

Level Headed is not a great album by any means, but there's 13 minutes of brilliance and about 20 minutes overall of excellent material. That's plenty good for me.

Ownership: 1978 Capitol (LP). Gatefold with lyric inner. Acquired in 2021.

1978; 1/21/21 (review)

Ballroom Blitz / Restless (1974)

'Ballroom Blitz' is well known, and honestly is a great hard rocker. It was the track that drew me to Sweet in the first place when I was 12. Shoot, even my mom thought it a good track, and she hated most of what I listened to. In any case, the track is also on the US pressings of Desolation Boulevard.

The real allure here is the unreleased 'Restless' which is patented Sweet, and features some really inspired guitar soloing from Andy Scott. The 45 is as common as one raisin in a box of them, so well worth the pennies.

Ownership: 1974 Capitol (SP). Acquired in 2020.

Also own: Desolation Boulevard; Give Us a Wink; Off The Record; Cut Above The Rest

6/27/20 (new entry)

Rainbow ~ England

Ritchie Blackmore's Rainbow (1975)  

This is the second time for me to run into this album since 2019. Each listen is a little bit more enjoyable, but mostly it always falls short of my expectations. Perhaps because of my personal experience with the band, I find that I enjoy Down to Earth and subsequent albums more satisfying. The exception to this - like just about every one else - is that I think Rising is their masterpiece. And it's much more aggressive and chance taking than this rather tepid debut. As some clever folks have noted, the band should have been called Ritchie Blackmore's Elf at this stage. It all came together in one short year. Once again I cannot find a reason to hang onto this, despite a few good - though not exceptional - tracks.

Ownership: Polydor (MC). Acquired in 2026. 

First copy: 1975 Polydor (LP). Had a few of these over the years. I always take the profit haha.

8/2/19; 10/21/22 (review)

Bent Out of Shape (1983)

Since I stopped at Straight Between the Eyes, I never did hear this final (for all intents and purposes) Rainbow album - until now. It's a nice return to form, showing off a more meaty hard rock muscle than prior - closer to Difficult to Cure in that manner. It would not have been enough for me in 1983, but I now appreciate this style considerably more. 

Ownership: 1983 Mercury (LP). Acquired in 2022.

4/5/22 (review)

Straight Between the Eyes (1982)

This is where I initially got off the Rainbow bus. I had stayed loyal, but as each year progressed in the early 80s, I wanted heavier and heavier music. And there were bands to fill that desire. Rainbow were going the other way. This is probably the most commercial of the four post-Dio albums. I'll keep it anyway. 

Ownership: 1982 Mercury (LP). Reacquired in 2022. First purchased in 1982.

1982; 4/22/22 (review)

Down to Earth (1979)

In an earlier post, I had mentioned that I bought this along with Judas Priest's Rocka Rolla. It was real time in Seattle while visiting my aunt and uncle. I enjoyed it at the time, but I was hoping for something heavier and less poppy. Over the years, it didn't survive some of the LP purging, which was necessary. Now I'm just scooping these up out of nostalgia. I actually remembered this album pretty well, though it's been 30 years since I last heard it. Down to Earth features Graham Bonnet, and he does possess quite the voice. Last year I revisited Difficult to Cure with great results, and I'll give the nod to that album over this, since it's less commercial. But for memories alone, I'll probably keep this one for a long while. 

Ownership: 1979 Polydor (LP). Reacquired in 2022. First purchased in 1979.

1979; 4/19/22 (review)

Difficult to Cure (1981) 

I've been hoping to find any of these early 80s Rainbow albums, and I finally got one with this latest haul. I had originally bought this album real time. According to RYM, it was released in February, which would have been the second semester of my sophomore year of high school. That rings true. By this point I had already owned Down To Earth (also purchased when it came out) and Rainbow Rising. Over time, the former didn't make much of a mark (long sold off), but the latter remains one of my all-time favorite hard rock albums - a brilliant work. When trying to recall my mindset of the era, I'm pretty sure I enjoyed Difficult to Cure on initial impact, and it would have been sandwiched between the other two in quality. For whatever reason, my interest in traditional hard rock soured throughout the 80s, as my heart and mind were more dedicated to the current metal movement, as well as my first forays into deep diving European prog rock. So Difficult to Cure didn't make the cut either. Hearing this again for the first time in probably 35 years, my perspective towards hard rock has long been altered to the positive. There are two cover songs here, and they are Rainbow's half-hearted attempts for radio airplay. The rest, all originals, is just killer hard rock, and out of time for the 80s. This is mid to late 70s hard rock all the way. Side two in particular is fantastic. And even the Beethoven Ninth cover, usually a trite groan-worthy exercise, has a superb instrumental mid-section written by the band. All-in-all, Difficult to Cure ended up being a +3 listen. It will be a long time before this one goes again. If ever.

Ownership: 1981 Polydor (LP). Reacquired in 2021. First purchased in 1981.

1981; 5/1/21 (review)

Also own: Rising

Once owned: Long Live Rock 'N' Roll

5/19/26 (new entry)

Asia ~ USA ~ South Dakota

Armed To The Teeth (1980)

I remember when Michael Piper debuted his new reissue label with Asia's two albums. It seemed such an odd choice for a diehard progger like him. I heard the CD not long after release, but didn't think much of it at the time, and passed on buying my own copy.

Many years later, with my tastes having broadened more and more into hard rock territory, I finally relented and purchased the CD. And enjoyed it much more. I was probably just catching up with the label owner's more advanced tastes.

What we have here is a distinctly Midwest North American sound, that which mixes hard rock, prog, and AOR sensibilities. Rush, Styx, Kansas, whoever was getting on the radio, that was the blueprint. These were all bands that possessed a lot of talent, but also toed the line for the major labels, since much moolah was at stake. I've documented this extensively on this blog and RYM, so I'll stop here. Just know that Asia were yet another willing participant in this once great scene.

And we hear that sound throughout Armed to the Teeth. Each track has purposeful hooks to gain DJ attention, and then they breakdown into sophisticated instrumental patterns. The music rocks hard, so as to maybe earn credibility in that market as well. Though by 1980, heavy metal was emerging, and Asia were falling behind the times. And they still employed the mellotron, an instrument relegated to museum status during this era.

Rapid City's Asia were the first to market with the healthy moniker of Asia. It would only be a year later that the ex-big-name English proggy boys went by that name, while going whole hog for commercial radio styled tunes. Despite legally owning the name, it's pretty tough to sue international megastars without a reservoir of personal cash, and naturally that wasn't the case. And into the mists of history went South Dakota's Asia. Only to be resurrected by hungry LP collectors many years later. Asia (SD) remains a footnote in music history, but their legacy is strong when considering the Midwest hard rock / prog movement.

Ownership:
1980 private (LP). Acquired in 2021.

1995 The Wild Places (CD). with Asia (1979). Extensive liner notes. Lyrics provided as well. Acquired in 2011.

11/3/11; 5/18/26 (review)

Also own: Asia (1979)

5/18/26 (new entry)

Blood Of The Sun ~ USA ~ Fort Worth, Texas

Blood of the Sun (2004)

---Nov 2004

Blood Of The Sun is Dave Gryder’s new group, or I should say, the latest group he’s a member of. If you at all have any interest in the stoner rock genre, then this should go to the top of the list. This is a six piece with lead and rhythm guitar, bass, drums, and a dedicated vocalist who reminds me of the guy from Monster Magnet. What separates Blood Of The Sun is the heavy use of organ, clavinet, and electric piano which are all played by Dave. Every track pretty much jams, with good breaks, fuzz leads, and more ideas than what is usually found in stoner music. Definitely early 70’s influenced with a raw production that sounds modern but is clearly geared with an eye on the past. On the underrated Brainticket label (Liquid Sound Company) which is based just down the road from here (ED: When we lived in the Fort Worth area). Great stuff and highly recommended to those that have sat through too many mediocre albums from the genre.

---4/27/26

Starting off with cowbell (of course it does), the heavy fuzz guitar joins the fun, followed by Gryder's Hammond organ. Then comes the tough-guy vocals, and we have arrived into the American early 70s past that was once dominated by the likes of Grand Funk Railroad, Mountain, and Rare Earth. Though I referred Blood Of The Sun above as part of the stoner rock genre, it may be more fair to describe it as retro hard rock. It's purposely non-metal, the guitar tones belonging more to the heavy psych genre of the late 60s and early 70s.

Blood Of The Sun's debut is mostly one dimensional hard rock - high energy and heavy all the time. Though, as noted above, it does allocate for some tempo changes and a few ideas per song. Essentially the band has removed the wheat from the chaff. For hard rock aficionados, that is. 

Ownership: 

2004 Brainticket (LP). Clear vinyl. Acquired in 2004.

2004 Brainticket (CD). Booklet has a photo collage of the band performing in a curtained room that looks like it was from 1973. Imagine that? Acquired in 2004.

11//04 (review); 4/27/26 (update)
 

Burning on the Wings of Desire (2012)

Burning on the Wings of Desire is the 4th album from Fort Worth, Texas' Blood Of The Sun. The modus operandi of the band is to recreate the hard rock culture of 1974 to the smallest detail. And to that end, the band succeeds greatly. Band leader Dave Gryder is an unreconstructed 1970s fiend, and it's his Hammond Organ that's out front and center along with the raunchy hard rock (never metal) guitars. The vocals are of the "tough guy" variety and all the tracks are about a lovin' and a rockin' and good times had by all. Wide lapels and rose colored glasses - hair over the ears with a pornstache. It's Saturday night at Barney's Ballroom in Steeltown, Ohio. It's so dark, you need a miners hat to see, and you're sticking to the floors - and it's best not to know why.

Though Gryder has listed a Hohner Clavinet, Mellotron, and other fun analog toys, one only hears the organ on Burning on the Wings of Desire. Wino (yes, that Wino) sings on 'Good and Evil', an homage to the era's tendency to close an album with a more thoughtful number.

If you can't get enough of bands like Bloodrock, Grand Funk Railroad, Mountain, and other popular hard rockers from the good ole' USA, then Blood of the Sun gives you the extract version of that. Be mindful not to OD son.

The slipcase shows a naked woman on both sides (of course it does).

Ownership: 2012 Listenable (CD). Acquired in 2015.

4/18/15; 7/14/18 (review)

Also own: In Blood We Rock; Death Ride

7/14/18 (new entry)

Spooky Tooth ~ England

Ceremony (1969)

If you read the below review first, this didn't quite go as planned. I still haven't heard my cassette of Spooky Two, but I found this LP at the Denver record show last week for a couple of bucks, and I fast tracked it to the front of the listening line.

Ceremony is the album they did with musique concrete legend Pierre Henry. It's more integrated than the Deep Purple Concerto album I just reviewed, but not by a whole lot. Spooky Tooth performs a mostly heavy blues rock that can get pretty freaky in places. This is Spooky Tooth at its best, and we hear this sound mostly on A1, B2, and B3. Some really great guitar jams. The music apparently was written for a Christian mass of some sort. The lyrics are heavily Christian, like a record coming from that genre. I wasn't aware Henry was so much of the faith. I'm rather certain Spooky Tooth were not, and they tried to disassociate themselves from top billing here. The album had potential to be a proto Krautrock classic. Imagine Pierre Henry pulling a Klaus Schulze, and the instrumentation lets loose for the duration. But it's way too ordinary for that, and blues rock is the end conclusion. An interesting album, though not something I need to keep. It did inspire me, however, to create a page for the band.

Source: A&M (LP). Later 70s pressing.

4/18/26 (review)

It's All About (1968) 

Spooky Tooth is another one of those bands that I've known about for most of my record collecting life but never actually heard. Found a nice pink Island copy up in Denver. It wasn't cheap but it was a really good deal, and it's hard to pass on these early UK pressings. I would describe the music as a type of psychedelic soul. From the latter comes the passionate crooning. From the former is the period sounds and instrumentation. Nothing really blew me away here, but I found it a pleasant listen throughout. Also I came to learn that one of the album's best tracks 'Too Much of Nothing' is only on these early pressings. It was swapped out with something apparently lame on the subsequent A&M releases. I've been told their second album is much better. I have it on cassette of all things, so I'll get to it eventually unless I find the LP first. At that point I might build out a page for them. 

Ownership: 1970 Island (LP). Pink "i" label.

4/29/25 (review)

Also own Spooky Two.

4/18/26 (new entry)

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)

Eloy ~ Germany

Ocean (1977)

As noted in the Planets review, Eloy had adopted a sound in the mid 70s and continued to progress upon it. Ocean is the second (or really third if we count Power & The Passion) that played in this style. Wish You Were Here-era Pink Floyd was certainly an album that had impact upon the German band, and some of the more spacey progressive bits owe to that album's atmosphere and mystique. It's very different from the dynamic Inside and Floating albums of yore. The album is a type of "easy listening" prog. It's not overly challenging but the tones and rhythms are pleasing to the ear. Klaus-Peter Matziol provides some memorable bass riffs, not an instrument we often hear take the lead, other than perhaps within the Zeuhl world.

Ocean is Eloy's most known work, and both RYM and ProgArchives proves this theorem. The latter takes it one step further and states it's their best album too, whereas RYM crowns Silent Cries and Mighty Echoes. For me personally, I find Ocean to fit perfectly in their late 70s repertoire, though it was never my favorite era of the band. My review of Inside lays out why.

Ownership:

1977 Harvest / Electrola (LP). Top loaded gatefold with lyrics and recording details in the center. Acquired in 2015.

First copy: 1989 EMI Electrola (CD). Acquired in 1989.

1989; 2/12/07; 3/24/26 (review) 

Planets (1981)

By 1981, Eloy's sound could be only be considered BIG. Wide open expansive music with fantastic bass and synthesizer chords. They'd been more or less working towards this album since 1976's Dawn, and had perfected the formula by the time of Planets. While the earlier Eloy albums such as Inside possessed both tricky time shifts and long solos, Planets is none of those things. But it's not plodding like Pink Floyd either. Overall a very pleasing music, strong on melody, and has a good groove. The type of sounds that you could draw new fans in given its lack of dissonance or avant garde techniques.

For whatever reason, even though I owned most of the Eloy albums by the time I left college in 1987, I never picked up Planets. In fact, I don't recall seeing it. I had the others on the label by then: Time To Turn, Performance, and Metromania. It wasn't until 2014 that I finally purchased the LP and heard for the first time.

Ownership: 1982 Heavy Metal Worldwide (LP). Textured single sleeve with lyric inner. Acquired in 2014.

2/27/14; 9/10/22 (review)

Silent Cries and Mighty Echoes (1979)

Eloy was one of Germany's most famous symphonic rock groups. They had a few phases, but their most popular was the era Silent Cries and Mighty Echoes was released in, when they were in full blown Pink Floyd mode. What I like about Eloy is their ability to provide space. This leads to the appreciation of the big, fat riffs that cascade throughout. The guitar and keyboard leads are profound, if not necessarily complicated or overly inspired. An easy band to enjoy on initial impact, I highly recommend Eloy to progressive rock fans who are looking for something new beyond the well-known bands. For old hands, as cynical as they may be, Eloy always manage to deliver as well. A very good album.

Ownership: 1979 Harvest (LP). Gatefold. Acquired in 1991.

11/11/91; 1996; 3/18/10 (review); 12/23/24

Inside (1973)

---8/19/06

Inside is Eloy’s second album and their first foray into progressive rock. This was one of my very first Continental European albums to own, and would have to consider it a strong influence on my personal preferences, especially upon initial discovery in the mid 1980s.

More overtly complex than most albums from Germany, and not really Krautrock in the traditional sense of the word. Blindfolded, and not knowing any better, I’d say Eloy - on Inside anyway - sounds more like an early 70s group from England. While vocal / guitarist Frank Bornemann is the clear leader of the band, the musical focus on Inside is squarely on the shoulders of organist Manfred Wieczorke. He carries most of the solos, as well as many of the melody lines. In fact, the organ virtuosity displayed here is some of the finest to ever be committed to a rock album (and that’s quite a statement!). In some ways, it almost seems they’re hiding Bornemann’s guitar playing. Without question he’s competent, especially during the composed melody runs, but does seem uneasy in the improvisational solo sections. Bornemann’s accented vocal style heavily resembles Ian Anderson, which I think leads to the frequent Jethro Tull comparisons Eloy gets tagged with (during this stage of their career at least). Also of note is the rhythm section of Fritz Randow and Wolfgang Stöcker, which is strikingly crisp and fiercely driving.

Side long opener ‘Land of No Body’ contains Manfred’s jaw dropping organ performance (both the atmospheric sections and in the ripping solos). Following this, the title track demonstrates the group’s complex compositional side. ‘Future City’ is Eloy at their most creative, with the musical emulation of a wind-up toy gone mad. ‘Up and Down’ is more in line with what other Germanic groups were doing at the time, recalling the haunting work of Paternoster or the more inward looking songs by Twenty Sixty Six and Then, My Solid Ground, or Murphy Blend. Interesting to note that Wieczorke took on the vocal duties here, and his heavy German accent gives it a completely different feel than Bornemann’s more refined (yet still accented) English. Without a doubt, this is a Hall of Fame album, and one of the finest German symphonic rock albums ever made.

---7/21/24

Interesting to research my notes and journals to realize I haven't heard this album since my Gnosis review in 2006, nearly a full 18 years ago. I entered this early on into the UMR because I had a full review, but didn't hear it then either. My tastes have not changed at all regarding this album, and my perspective remains as above. Other than a few word and grammar changes, the review below continues to hold court for me

Ownership: 1973 Harvest / Electrola (LP). Uni-pak gatefold. First pressing. Acquired in 1986.

1/6/86; 8/19/06 (review); 7/21/24 (update)

Other albums I own and need to review: Eloy (1971); Floating; Power and the Passion; Dawn; Colours; Time to Turn; Performance

Formerly owned: Metromania (which I wouldn't mind hearing again, it's been many years); Live

6/21/09 (new entry)

Rare Earth ~ USA ~ Detroit, Michigan

In Concert (1971)

If there's an album that proves my theory about Rare Earth never letting loose, it's In Concert. When finding this CD I had hoped that perhaps in a live setting, Rare Earth would bring a new level of intensity. Sadly they do not. I'd submit they are of a lower energy than the studio versions. They proved this point the most on 'I Know I'm Losing You', a track that should send chills up the spine. 

Not to say they sleep walked through these tracks either, just that they did not bring the oomph they need. One only has to listen to Judas Priest's Unleashed in the East to know what a kinetic live album can add to studio recordings.

Though In Concert remains their highest rated album (according to RYM), I'm not convinced it achieves the high marks. I would think the only reason to seek this out is for the near 11 minute jam 'Thoughts' which I believe is the only place the track exists.

Source: Motown (CD)

1/28/26 (review)
 

One World (1971)

The big hit here is 'I Just Want to Celebrate' which is definitely the best song on the album for my tastes. This is a good album but somewhat "generic Rare Earth" sounding. They were to rebound nicely on Ma, but this title is a bit mundane. 

Source: 1971 Rare Earth (LP)

9/11/24 (notes)

Ma (1973)

Another solid hard rock funk album from Rare Earth who seem to specialize in heavy psych covers of soul classics. B3 is a killer, one of their best ever. B4 is oddly erotic but a very good track and a different direction for the group. I can do without B2. The side long track is like a lot of the Rare Earth catalog - always on the cusp of something big, and yet they hold back. They never really did let loose for that one psychotic Krautrock styled freakout. I'll keep this one.

Ownership: 1973 Rare Earth (LP). Acquired in 2024.

6/13/24 (review) 

Ecology (1970)

---5/9/22

OK, this is the Rare Earth album I've been looking for. Non stop kickass hard rock and organ. My copy is trashed (like all the ones I've seen), so I'll need to upgrade before commenting more. The only reason I have this copy at all is that I took a chance on one of those Goodwill auctions. It was predictably not a great experience. Fortunately the two records I thought I could resell turned out pretty good and will more than pay for the lot. But I'm not doing that again. I had to throw away the Eagles' Hotel California album it was in such bad shape. Goodwill sucks really. 

---5/19/23

So that day has finally come. There was an interim copy with the cover in shrink, but the vinyl once again barely made the VG level. I finally found a German copy, itself visually a VG, but it plays much better. So let's analyze the album a bit further.

In a lot of ways Rare Earth reminds me of Iron Butterfly. Not so much in sound, but lost opportunity. While both of these bands reached their peak long before my time, any kind of historical study will show that they were both huge in their day and highly influential. Motown named a sublabel after Rare Earth, as but one example. Had they been based in Europe they likely would have had more creative freedom, but the major labels here were laser focused on the next hit, and it appears that both of these legendary bands were all too willing to play ball. Bad for their legacy, and ultimately bad for their pocketbook. Rare Earth arguably fared better with their most known song coming one year later in 'I Just Want to Celebrate'.

While the previous Get Ready had a side long track, it's here on Ecology where the band experiments the most. And the one track where that really becomes apparent is a cover of The Temptations' '(I Know) I'm Losing You'. Everything about it is so perfect, yet it feels like it should be so much more. It's on the verge of psychotic madness but holds back just enough to keep within sane levels. It's use of quiet space inside the proposed boundaries is brilliant. And while it does have some wicked guitar, one wishes for it to have gone off the rails while the impassioned vocals are being echoed throughout the halls. The whole album maintains this feel that they're holding back something special, yet it's still an excellent album. It should have been a masterpiece though. For 1970 America, Ecology was considerably ahead of its time. If only Del Jones had walked in and had some influence. Hoo-boy, wouldn't have that been something? Today dogeared copies of Rare Earth albums sit unwanted in dollar bins, awaiting their ultimate fate to the trashcan. A mere historical footnote in the annals of rock music.

Ownership: 1970 Rare Earth Germany (LP). Acquired in 2023.

5/9/22 (first acquired / notes); 5/19/23 (review)

Get Ready (1969) 

Here is Rare Earth's breakthrough 1969 release. Like with Iron Butterfly, Rare Earth were a band that was positioned for a long great career, only to let it slip through their hands. Similarly their albums are relatively easy to find, and demand remains light. All the same, they are to hard to find in nice condition, as they are usually partied out by now. And taking the comparison further, one could look at Get Ready as Detroit's response to Southern California's In-a-Gadda-da-Vida. Some rockin' tracks on Side 1 followed by a near 22 minute opus on the flip. It's more direct than the oftentimes esoteric Iron Butterfly, but that speaks to the region itself. This isn't my first go round with Get Ready, an album I first picked up back in the late 80s. I thought it was OK, but it should have been better, and moved it out. Some 40 years later, and I still agree with my original assessment. The songwriting is a little light, and the cover tracks aren't particularly compelling. But it's also hard not to appreciate the excellent fuzz guitar throughout. I'm appreciating Get Ready more today than prior, but it isn't near the level - or as influential - as Iron Butterfly's masterwork.

Ownership: Motown (CD). 90s issue. Acquired in 2023.

1989 (first acquired); 5/12/21 (review); 6/23/23 (update)

5/19/23 (new entry)

Hairy Chapter ~ Germany

Can't Get Through (1971)

---9/3/07 (excerpt)

Hairy Chapter’s Can’t Get Through, along with Haze, are albums I discovered too early in my record collecting career. I was fortunate to happen on these LPs in the 1980s, but the direct hard rock approach they both took was rather off-putting and I traded to other dealers not long after.

---1/20/26

Exactly that. I was still new at this whole buy-any-import-that-looks-cool stage. Summer of 1986 is when I found this album at the Dallas Record Show for around $5, if memory serves. But this just wasn't the sound I was looking for at that time. I liked metal and I liked cosmic Krautrock, but hard rock? Naw, that's too ordinary. That mentality changed somewhere in the 2000s I think, maybe a bit before. Certainly it had by 2007, on that random listen.

So what does Can't Get Through sound like anyway? Would you believe hard rock? Haha, of course it does. The extended guitar solos give it that Krautrock edge. Some Black Sabbath references as well. So it fits comfortably with many groups from Germany during this era like Haze, Blackwater Park, Night Sun, Epitaph, Silberbart, Spermull, Frame, Dschinn, etc... B2 provides the only break, and it's way out there actually. Like The Beatles on a bad trip.

As with Arco Iris' Agitor Lucens V, Can't Get Through has been on my want list for many years. In this case, I really wanted the original though (given my history), not a modern reissue. I managed to do one better than that copy I bought in the 80s, as this is the true first press, and I had originally stumbled onto the '72 pressing. Either one was fine with me, but cool all the same. It was an online purchase, and while not cheap, it was a good deal and accurately graded. Don't be afraid of VG vinyl from Germany, as they often sound much better than they look. And that's certainly the case here.

Ownership: 1971 Bacillus (LP). Gatefold. Acquired in 2026.

1986 (first listen); 9/3/07; 1/20/26 (review)

I also once owned Eyes on CD but it wasn't to my taste. I'll have to hear it again at some point.

1/20/26 (new entry)