Myrth ~ USA ~ Phoenix, Arizona

Myrth (1969)

---5/12/15

I'd say within the horn rock spectrum, Myrth tracks closest to Ides of March. The vocals are gruff, and the music is hard charging. The horns are tight and well charted. And, yes, there's a commercial slant to some of the material, that is wonderfully offset by more progressive leanings. This is exactly the style of music you'd find on Ides of March's Vehicle, a much under appreciated album in my eyes. It remains debatable if the horn rock era will ever find a new fan base after its initial run. But if it does, Myrth should be an early consideration.

I haven't been able to discern where Myrth originated. The album was recorded in Hollywood, and it would seem given the logistics of a large ensemble, that southern California would be the logical source. But I've also found references to Utah and Arizona, that are possible but not conclusive. 

---5/4/26

That was the CDRWL entry and now the album makes its debut into the UMR. At one point, I kept albums that needed a reissue separate on that blog, even if I owned the item. I'll be moving quite a bit of albums over here, as I'm now getting to that part of my collection.

My original review still stands. I would also submit that the reason many of these horn rock albums didn't make it, and Myrth is no exception, is the lack of a memorable song. While the ten tunes on display are well written, the obvious chart tries fail to deliver. Not everything is geared for the radio, and there you will find the better compositions. As you will see in the video below, the producer also suggests that RCA had no idea how to market the record.

As for the origins of the band, we now have the complete story from their producer John Florez. This is well worth watching, and it also explains the annoying bird lol. Myrth story.

Ownership: 1969 RCA (LP). Gatefold. Acquired in 2015.

The album remains without any kind of reissue as I enter this on 5/4/26.

2008; 5/12/15 (review); 5/4/26 (update / new entry)

MAX (Rodan) ~ USA ~ Los Angeles, California

Beyond Rodan (1970-1974 / 2024)

OK finally getting back on track here with some rarities. We have a beautiful new reissue to discuss today. I first had an opportunity to hear this uber rarity from top collector Heavy Rock way back in 2009. Here are my original notes:

Super horn rock album, that absolutely kills on most of the 12 short tracks. There are a couple of bluesy moves and at least one James Brown styled funker, but mostly this just rips from start to finish. The kind of album you wish all horn rockers were. Smoking guitar and great brass charts. The rhythm section never stops. California based group was actually known as MAX, and toured extensively with groups like Malo and Tower of Power. Album sports a fantastic drawing on the cover.

---

Now the story becomes clear. The original album itself is a pirate edition. It's not conclusive if the album was a tax dodge deal like the Guinness or Tiger Lily labels, or just an ambitious insider looking to profit. As such the original album is a hodge-podge of different eras of the band which explains the sound variations throughout. Now with this definitive (and gorgeous I might add) 2xLP set, you can hear the trajectory of MAX, though it's mostly spread across evenly (excepting Side A). Horn rock remains the primary genre, but they were progressive too in the same way as The Greatest Show On Earth or Brainchild. Jazz rock and finally hard funk can also be found in these grooves. The energy level remains high throughout. Beyond Rodan is a pleasant album to listen to. Despite being a double, I found myself engaged through its entirety. In fact I played both discs three times each before filing away.

---

After digesting the contents, I did have a couple of questions. I received an answer on the same day from founder David Cortopassi! Special thanks goes to Josh Cortopassi for the assistance.

1. There's a track on the original album called 'Pandora's Theme' that's not on this reissue. Was it just renamed or left off?

Scott Page had asked Joe Gottfried, owner of Sound City, to listen to the band rehearse (Scott's father, Bill Page, knew Joe Gottfried from playing with Lawrence Welk). Joe was impressed with MAX and offered to record us. First step was for me and Scott Williams to recorded several demos in order to decide what MAX would record at Sound City. Pandora's Theme was actually a piano solo I recorded at Sound City under the title "Of Aries For Scorpio". Other than that, I don't have a clue why it was renamed or even included on the bootlegged album. I had no input to the original Rodan album or the selection of songs on that album. As that cut didn't have horns, wasn't the same genre, and since time is limited on vinyl, it made sense to eliminate it.

2. There are five listed recording places in the liner notes. Do you happen to know the date of these - or at least the year? Even though the album was released in 1974, much of the music does sound more like 1970-71, which is consistent with the liner notes.

Quality differs from studio to studio and engineers have their own distinct sound or perception of what they record. My personal favorite recordings are those recorded at Sound City and Pacific Recorders. They capture what I consider that “classic” sound. In re-mastering them all, we did the best we could to closely reflect the album cuts as being recorded in a single studio.

I didn't keep track of the specific dates of the recordings, but the years by studio are as follows:
Sound City (1970 - 1971)
Pacific Recorders (1972)
Village Recorders (1973)
Columbia Records (1974)
ABC Dunhill (1974)

With that data in hand, here is your scorecard for when each track was recorded:

1970 - 1971: All of Side A; B2; B4; D3; C1
1972: B1; B3; D1; C5

1973: D4; C4

1974 (Columbia): D2; C3; C2

1974 (ABC Dunhill): D5

Ownership: 2024 Digital Cellars (2xLP) Gatefold. Liner notes inside the gate. They maintained the awesome artwork.

6/22/09 (review); 3/17/25 (update / new entry)

Lucifer's Friend ~ Germany

Banquet (1974)

What a strange record, I'll tell you that right up front. Lucifer's Friend didn't fit neatly in a single box, having released a number of albums that spanned the musical spectrum (and yet never Krautrock strangely enough). But they usually were consistent within the album. That's not the case here. The opening track is misleading and inauspicious. Sounding like 1970 era Beatles, or maybe more to the point Wings, Lucifer's Friend offers an outdated jangly pop track. This is followed by the lengthy 'Spanish Galleon' which mixes in both jazz and brass rock to great success, while infusing a Vegas loungey vocal style. What a great mix, and we're still 4 to 5 years away from any kind of modern relevancy. 'Thus Spoke Oberon' is the highlight of the album, and takes the above track and runs it through progressive rock motifs. I had to hear this side three times straight to digest its contents. That's pretty rare nowadays. Side 2 opens with... a boogie rock track. Of course it does. It does improve as it goes which leads to the near 12 minute 'Sorrow' - yet another Tom Jones fronting Chicago meshed with Wolfgang Dauner number. 'Dirty Old Town' finishes in folk rock fashion, but does not eschew the above artistic or sound qualities. This one gets a +1 for unique and another +1 for being pleasurable to listen to.

Ownership: 1975 Passport / Billingsgate (LP). Acquired in 2024.

3/20/24 (review)

Where the Groupies Killed the Blues (1972)

Way late US issue of Lucifer's Friend's second album, Passport acquires Billingsgate and subsequently gives up on the German market. They also radically reworked the original order by placing the closing ballad as the opener, among other adjustments. That makes no sense. But whatever the case, Lucifer's Friend's sophomore effort is much different than the debut. Whereas that album is a great example of German hard rock, Where the Groupies Killed the Blues is also a very nice representation of German prog rock, with touches of the former. Neither are Krautrock in the slightest. From here they went on to classic rock, and (apparently) a bit of jazz rock, though I haven't heard Banquet yet (see above). Strange band. And not really a good representation of the German scene of the era, though it appears American audiences appreciated them more at the time than some of the others. 

Ownership: 1975 Passport (LP). Acquired in 2023.

7/23/23 (review)

Lucifer's Friend (1970)

If there's an album out there that clearly designates hard rock from Germany versus Krautrock, Lucifer's Friend's debut may be just that. For 1970, Lucifer's Friend paves the way for many German hard rock bands to come like Frame, Hairy Chapter, Night Sun, Gift, etc... Heavy organ and riffing guitar along with soulful, Uriah Heep-like vocals (from Englishman John Lawton) define the music. A truly groundbreaking effort that's a year ahead of the pack.

The cover is as creepy as they get, far outdoing those metal bands that try too hard for the same effect.

Ownership: 1970 Philips (LP). Embossed gatefold. Acquired in 2023.

6/4/23 (review)

I'm Just a Rock 'n' Roll Singer (1974)

This album has a major image problem. The cover, title, and band moniker are all wrong. And while it's true that the title song does have boogie rock components, it still features an excellent hard rock break. And it's not representative of the album on the whole. Only A2 is similar, and it too features a superb ending. The rest of the album is very good hard rock, and the last two tracks go completely prog, with mellotron and the works. This is only the second album I've heard by Lucifer's Friend, and it's far better than Good Time Warrior which I've already panned below. 

Former ownership: 1974 Billingsgate (LP). Acquired in 2022.

3/10/22 (review)

Good Time Warrior (1978)

I'm not really that familiar with Lucifer's Friend, though I know this is way past their prime. For all of side 1 and half of side 2, it's an embarrassing display of radio friendly boogie tunes. I mean, these Germans came from the same era as the Scorpions and had the right moniker to take it to the next heavy level. But they chose to sell out, and it didn't work for them at the time, and history will be even less kind. The final 10 minute cut 'Warriors' has some quality moments, leaving one wishing for more. A waste of yet another cool lady fishnet cover (remember Blister Chap?). 

Source: 1978 Elektra promo (LP)

12/2/21 (review)

6/5/23 (new entry)

Puzzle. 1973 USA-Illinois

This was a pleasant surprise. I was expecting soul music. Part of that is obvious because of the label, but also I had investigated this band in the past and didn't read anything of interest. Turns out to be a solid horn rocker with at least four killer tracks out of nine. I even like some of the poppier stuff, very much in the Chicago realm. A couple of stinkers, but that's OK and to be expected within the genre. Best tracks are the opener and closer of Side 1 and 'Suite Delirium' on Side 2. Solid album all around. Apparently the group is from Chicago as well, home of brass rock.

Ownership: LP: 1973 Motown. Single sleeve with lyric inner bag. This was a free throw-in to that big pile I recently purchased. There are 5 known pressings of this album. The others have a darker cover while this one is silver.

7/13/23 (new entry)

Symphonic Metamorphosis ~ USA ~ Detroit, Michigan

Symphonic Metamorphosis (1970)

---3/31/10

Fascinating nine piece horn rock band formed by (then) active members of the Detroit Symphony Orchestra. The horns are exquisitely performed, though the rock sections are a tad more restrained and pedestrian for a band with these kind of quals. Still, the guitar and organ work is efficient. The vocal harmonies have a 60s vibe to them. 

---3/22/23

That's a pretty decent Zagat styled review and mostly represents my feelings about it today. For a band with this kind of background, it does rock pretty hard especially given its 1970 vintage, a year that was very transitional in America. My rating stayed the same, but I see this one as a keeper. Unique in its own way.

Ownership: 1970 London (LP). Gatefold.  

No reissues exist as of 3/31/25.

3/31/10 (review); 3/22/23 (update / new entry)

The U.S. Air Force Band Rock Group ~ USA ~ Washington D.C.

Mach One (1976)

When you live in a military town like Colorado Springs, then you'll notice at the thrift shops that we get an overabundance of records from the Armed Forces (RT had a ton of these). Most of them are what they call "transcription" records - that is albums that have been released but pressed specially for those in the field, without a cover. They feature one side each of known artists and albums. Many of these are collectible, though most are unknown, and I have a few of these LPs in my future inventory stack. The other type of record are what were used as "recruiting" albums. These are usually albums made by members of whatever branch of military is doing the recruiting. Since The Springs is the home of a large Army and Air Force base, not to mention the Air Force Academy itself, then that's what we see more of than the Navy or Marines. Of these original recording albums, most are from the time of Gomer Pyle or before and are not of interest to me. But they did carry the practice into the 70s. The best one I've heard to date - by far - is Mach One.

The cover is an indication that this isn't a garden variety military record. Specifically it's a blend of hard hitting horn rock and jazz funk. The songs are a mix of original and cover tunes. The musicianship is top notch and these guys and gals could have hit the touring circuit. Perhaps they did - but not commercially. Some fantastic fuzz guitar, organ, and synthesizer along with killer horn charts, tight rhythms, and great male / female vocals. For 1976 they're running a few years outside the boundary of the style they're playing, sounding more like 1972. Which is a good thing...

Ownership: 1976 U.S. Air Force Recruiting Service (LP)

8/23/20 (first listen); 9/14/22 (review / new entry)

Chase - Chase + Ennea. 1971-72 USA-Nevada

Bill Chase was like many horn players in the late 60s and early 70s, and jumped on the Brass Rock movement. Perhaps just a couple of years too late, no matter, as the band managed to score a few hits before becoming irrelevant like most of the movement. And then, in 1974, Bill and some others in the band died tragically in a plane crash. Were the band to have a future like Tower of Power, we'll never know.

Chase's lineup is a bit unusual for horn rock though. Instead of featuring a trumpet, trombone, and sax/flute member, Chase just took the trumpet section with him. Chairs 1 through 4 in fact. And he combined that with guitar, bass, organ, drums, and a lead vocalist for a whopping Nonet. So the overall sound is very piercing, something akin to Maynard Ferguson times 4. Chase himself was no youngster on the rise, he was already a 37 year old veteran of the jazz circuit, playing the Las Vegas show scene. 

This double LP set features their first two albums in full, and both are similar in construct. One side contains some ripping hard rock meets horn rock numbers whereas the flip has a side-longer (mostly) where progressive ambition creeps in. I enjoyed both albums immensely, being a horn rock fan already. These are albums that are long forgotten today, but its rediscovery awaits.

Ownership: LP: 198? Epic. Gatefold. 2xLP. Chase albums are, as a good friend of the UMR would state, "as common as spit". I heard one of these albums as early as high school, but it wasn't for me at the time. I never did pursue again, and wasn't ever encouraged to do so. So the timing was perfect for this 2 album set to show up in the 25 cent bin. The repressing itself is very odd. Originals were commodities even in the early 80s, and there was never a "brass rock revival", especially during the New Wave years! As superfluous as any pressing ever done, these reissues hit the dollar bin the minute they were released, or so it would seem!

new entry

39.4 ~ Mexico

39.4 (1972)

I first came across the name 39.4 from a brass rock listing some years ago. I saw that it was on CD, but as is often the case, no copies were available. There are three distinct LP pressings, so I put all four on my want list. And years later, finally a reasonably priced CD shows up, and now it's here for a quality listen.

39.4 is very much patterned after the thinking man's UK horn rock school. Bands such as Brainchild, Heaven, Greatest Show on Earth, and Galliard are all in this conversation. The horn charts are tight, the guitar has the proper acid fuzztone, the vocals are rough n' ready, which is all then juxtaposed against the soft flute. The songwriting is top notch, with some memorable melodies. This is not a new formula, but a winning one. 1972 is a bit late in the game to debut with an album in this genre, but again we are talking Mexico, which really had no chance to be at the forefront of a musical movement such as this. The vocals are in English, and I'm not picking up much of an accent, which tells me the singer probably spent some time in the States. The track titles, confusingly, are in Spanish (with translations). As you probably know, I'm a big fan of the style, so this comes easily recommended from me. If just getting your feet wet, I'd recommend the bands listed above before deep diving here.

There are two bonus tracks on the CD, both from a 1975 single (on Magneto). It's not labeled. These are not brass rock tracks, and have more of an indigenous sound mixed with rock. They're both very good though.

Ownership: Okeh (CD). This is the cheapest packaging I've ever seen for a CD. It essentially looks like a simple booklet. And that's it. The CD is put inside of that. It's oversized, so it's not like the seller forgot to include the backplate or anything like that. That's its design.

Odd also that it was on the Okeh label. How many albums on Okeh are in your collection? I always associate the label with 78s, as they were one of the major early players, going back to 1918. But one of the 3 original pressings was on Okeh (all 3 have different covers as well, and this one is the Okeh release). That makes sense though, as the original was on CBS, who owns Okeh (now Sony). In reading the history of the label, they relaunched it many times over the years, and today they are still active. Also to mention, the non-documented bonus tracks are from a different label. I dunno about this reissue...

Yet another fun fact: My Great Grandfather released two 78's on Okeh. And one of them was the very first recording ever made in Dallas, Texas. Documented fact. No coincidence, then, that I became a music freak. Of course I have no talent (in much of anything as it turns out), so I had to settle for listening rather than making.

5/8/21 (acquired / review / new entry)

Mahagon - Mahagon / Slunečnice Pro Vincenta Van Gogha. 1978 Czech Republic

I've said this before, but some of the best albums I've yet to appreciate, already sit in my collection. I've had Mahagon's debut for many years, going back to finding an original LP in Denver in the 90s. While I've always enjoyed the contents, I'm not sure I could offer up much more than it's a fine fusion album. But this +2 listen confirmed that it belongs in the brilliant column. This is exactly the kind of jazz fusion I really enjoy. There's a funk factor, a bit of horn rock, and some sultry female vocals - in Czech of course, adding that much more of an exotic flair. 

The CD is the way to go here, as it starts out with 2 pre-album 45s from 1976. Both of these are very obscure - expensive / not for sale on Discogs and not listed in RYM - and demonstrate a harder rocking brassier version of Mahagon. This is followed by one more obscure track before launching into the album proper. As with most Eastern European albums, the CD demonstrates a quality production that was diminished by the poor Supraphon pressing.

Then another single is presented along with a solo effort from singer Zdema Adamova. One can tell the band is moving into commercial rock waters, but it's still quite good. The second full album from 1980 is titled Slunečnice Pro Vincenta Van Gogha, and they really lost the plot here. The music is mostly vapid pop and they've completely lost their edge. Fine for bonus material though, as the CD affords.

Ownership: CD: 2009 Indies Happy Trails. Contains many liner notes (in Czech) and photos. Purchased new online upon release.

Stanley Steamer ~ USA ~ Michigan

Stanley Steamer (1973)

Not even sure where to start with this one. I've had the album on a curiosity list for many years. It's not an expensive album, and so when a sealed one came up recently for cheap, I decided to take the plunge. Finding information about the album is difficult. Stanley Steamer are a nine piece band with horns and a female vocalist. Side 2 is one track that is close to 18 minutes long. On paper it would appear the album is marrying two of my favorite styles together: Horn rock along with female vocal led proto-prog.

And... that's not too far off from what you get! Though it's not really either in the traditional sense. It's more pop oriented than progressive, and the horn rock never really takes off like Chicago or McLuhan for example. Most of Side 1 is satisfying, though I could do without the second part of 'Rainbows on My Face' and 'Desperation, I Love You'. Side 2 is superb throughout, and the track length is never padded with any kind of aimless solos (I had dreaded the insipid drum solo, but none to be found). It takes a couple of listens to adjust the ears on this. It's unique, though not unfamiliar. The songwriting is at a high level, though none of the melodies are particularly memorable. That is to say, there's no single track here you'd want to play over and over, yet hearing in full is very satisfying. Holly Vaughn is a true vocal talent, and most certainly could have been a major pop or jazz singer. The (sparse) orchestrations on side 2 reminded me most of Burt Bacharach's arrangements, and in that light, Vaughn recalls Dusty Springfield.

About the band, deep in the web, I found this article. If not reading closely, you would presume the band to be from St. Louis, but it turns out they're from Lansing, Michigan. Jolly Rogers is none other than Kenny Rogers' label. At the time, Rogers was fronting a band called The First Edition (an interesting band in their own right, and not something one would associate Kenny Rogers necessarily with). He was anxious to expand his label, and Stanley Steamer was his first major signing. Then things went awry with The First Edition, and that was the end of the big dreams. For both the label and the band. Given the amount of supply of (mostly) promo copies, it appears Rogers (or his company) did try their best to promote the album.

Since it's an inexpensive album, and a reissue doesn't seem likely, I would suggest grabbing one of those LPs while they're still out there.

Ownership: 1973 Jolly Rogers promo (LP). Gatefold. 

6/11/20 (review / new entry)

Ides of March ~ USA ~ Chicago, Illinois

Vehicle (1970)

Long before Jim Peterik made his name as the author of Survivor's 'Eye of the Tiger', he had another major hit with 'Vehicle'. Personally I think it's one of the greatest of energetic horn rock tracks. Not sure if this is still the case, but not too long ago one would still here this song at Chicago Bears games (appropriate since that's where the band were from). After this, most of the original material is serviceable for the horn rock genre, though not extraordinary. And the Creedence Clearwater Revival homage 'Factory Band' is best skipped over. But the other two monster tracks here are the extended cover tunes, with highly original arrangements: 'Wooden Ships' and 'Symphony for Eleanor'. I've always liked The Beatles' 'Eleanor Rigby', but without any doubt, this is by far my favorite version of the track. And it rocks too!

Ownership: 2003 Rhino Handmade (CD). On Friendly Strangers with Common Bond. There are no less than 7 A/B singles included here, though some are just double-ups from the LP. Package is filled out with full liner notes, photos, and great sound. Encompasses one full CD plus a mini CD (fortunately full size so you can play it in all CD players). The CD originally could only be purchased from Warner Bros direct marketing, which I dutifully accomplished not long after its release. It's been since repressed by Wounded Bird. Not sure if they have the full liner notes though. Acquired in 2004.

First copy: 1970 Warner Bros. (LP). Acquired in 1995.

1995; 10//04; 2/28/15; 4/22/20 (review)

Common Bond (1971)

The Ides of March's second album could be described as a mix of Crosby, Stills, and Nash combined with Blood, Sweat, and Tears. Definitely a prototypical North American pop rock sound of its era. There are two great tracks here though, that make it well worthwhile. First is 'Superman', which was the mandatory follow up to their massive hit 'Vehicle'. It may be a rewrite, but it rocks out in the same fashion, and the horn charts are killer here. Second is the lengthy progressive jam of 'Tie-Dye Princess'. It's too bad we have such few examples of The Ides of March performing long form music, because in each case, they are a very entertaining unit with expert musicianship. Personally I find the lyrics charmingly antiquated. 'Ogre' is also a good track, with its raunchy soulful hard rock sound. As for the rest, it's mostly folk based pop rock. Contrary to the "Rolling Stone standard" type review, I find the horns are about the only saving grace to what are otherwise ordinary compositions.

Ownership: 2003 Rhino Homemade (CD). On Friendly Strangers with Vehicle.

10//04; 2/28/15; 9/3/16; 4/24/20 

1/22/17 (new entry)

T.N.T.H. ~ France

Let's Go Children of the Country (1971)

T.N.T.H. were a band from France who released this one memorable LP, resurfaced a few years later with a single, and then disappeared without notice. Given the moniker, one would presume it to be an acronym of some sort. What it stands for is anyone's guess, as it would appear to be a closely guarded secret. It doesn't seem to come from the members names. Perhaps it's a play on the word "tenth", with a grammatically incorrect acronym to support. Does it matter?

So what do we have here with the 1971 release Let's Go Children of the Country? A cross of Chicago styled horn rock and a type of instrumental funk. It's the latter that opens up the album, the two part 'Hippopotamus' has an infectious groove that just won't quit. If you're not dancing your brains out on this one, or at least imagining such a thing - then time to check the ole pulse to see if you're still here. The closer, the namesake T.N.T.H., is the perfect horn rock instrumental, with jamming rhythm guitar and killer horn solos. The highlight track for me anyway. As for the other songs, they too are excellent, more song based (with occasional vocals) than the bookends. A great album as far as I'm concerned.

Ownership: 1971 Barclay (LP)

No legit reissues as of 3/24/25.

12/25/19 (review / new entry)

Splash ~ Sweden

Splash 2 (1978)

On Splash 2 (oddly named given it's their 3rd full length album), the Swedish band have moved from standard pop rock structures to an improvisational jazz rock unit. I hesitate to use the word "fusion" here, as they clearly weren't emulating the usual suspects like Return to Forever or Weather Report. And at times they have that college level stage band type tightness. There's also a little bit of silliness calling out their Zappa influence (not to mention some fine guitar soloing). And even a little dancing around the barn music to open the album. An intriguing album, but a step down from their second album.

The two bonus tracks on the CD total about 12 minutes and are excellent.

Ownership: Part of the box set as described below.

11/28/19 (review)

Ut på Vischan! / Back to Nature (1972)

Splash started their career quite a bit differently than how they finished. On their debut, Ut På Vischan, one will hear a typical horn rock album very much modeled after Chicago or Blood, Sweat and Tears. Except it's sung in Swedish (always a favorite language here). Like most horn rock albums, there are some great instrumental charts offset by some more standard songcraft. Not one of the best horn rock albums you'll ever hear, but a very good entry all the same, and it sports a great cover as well.

Ah... but as we learn from the CD reissue box set, Ut på Vischan! was originally to be an English language album. And that would be Back to Nature. The music is very similar, not an exact copy, but this time sung in the language of the common music industry. Not sure why the change of heart at the end, perhaps Polydor knew the album wouldn't stretch beyond the local shores. Whatever the case, a great archival discovery for fans of the band.

Ownership: Part of the box set as described below.

11/3/19 (review)

Samtliga Inspelningar (1970-1979 / 2018)

2019 has proven to be quite the year for CD collectors. Not so much in quantity, but rather quality. It's ironic in that everyone it seems has moved back to the LP. Yet arguably the greatest CD package of them all was released this year - at least for my tastes - and that was the Tangerine Dream In Search of Hades box. At some point I'll get some words down about it here, but I'm sure most of you had already heard about it. We've also had the incredibly great box set from Group 1850 - Purple Sky (something they should have done years ago, but OK, they did it now and I love it). And some real obscuros came out this year like Firyuza, Atila - Reviure, some of the Lloyd McNeill's, the Tom Nehls, Grodeck Whipperjenny, the list goes on. Yea, it's not 2005, but are we seeing the roots of the CD renaissance that I'm certain will happen at some point? As you all know, I love collecting original LPs through the 1980s - that won't change, but I never did jump on the LP-only bandwagon. For modern releases and reissues - I want CDs! And I know many others out there who agree with me.

All of that prelude leads me to this most magnificent box set - released completely under the radar. I received a tip from an Italian friend on RYM, and now that I have it in my possession, I can only say WOW! The fact this was put together by one of the members of the band, is really quite extraordinary. Because it seems like something a major label would put out. I had a chance to hear the second album last night, mainly because it's the album I'm most familiar with (see below review). The sound is absolutely fantastic, and I cannot wait to hear the rest!

So what's in the box?

Disc 1 has their first album Ut På Vischan.  Ah, but it turns out the original LP was supposed to be issued in English and the recording still exists! So Disc 1 actually opens up with Back to Nature, a complete first album in English. Judging by track times, it appears the two will be pretty similar (not exact), but with different languages. I'm personally glad they went forward with the Swedish version initially (which is also here of course), but it's great to have the original intended English version now too. (Update: Ut På Vischan! is taken from vinyl with light background noise. Guessing the masters were lost, and this is the best copy they could find. The English version is taken from a master tape the band had).

Disc 2 features their entire second album plus one single that was originally released in 1974 (quite good I might add).

Disc 3 features their 3rd and final album Splash 2 (still not sure about why this is the title, more on that below). There's also two bonus tracks, of which I'm not quite sure of their origin. One indicates possibly a 2015 recording and the other 1974.

Disc 4 and beyond is all bonus material. For the 4th disc you get their 1973 released single, 4 unreleased tracks from 1973 and 1974. AND a full radio show from 1975.

Disc 5 has two back to back live shows from 1975.

I have yet to hear these, so cannot comment on the sound quality. Though I'm guessing they are pretty good, because then comes...

Disc 6 which is for your computer. Here is where they placed their first 1972 single (probably from vinyl then?) along with two more full live concerts (1973 and 1976 respectively).

Holy moly, that's a lot of Splash! The "clamshell" box is awesome and they were wise to use the excellent second album painting. The booklet is superb with extensive liner notes and vintage photos. Plenty of detailed track information. Now most of the booklet is in Swedish, but there is an annotated English section as well. It would be really great to get the Swedish notes translated, as I suspect some of my questions are answered there. If anyone wants to do that, I will publish them here for perpetuity.

If you are interested in obtaining this box set, I can put you in touch with Thomas. I'd rather not drop his e-mail here. Just follow the Purple Peak Records tag below to the contact e-mail page, to get in touch with me. Or drop me a note on RYM via my Ashratom page. 

Ownership: 2018 private (5xCD). Details above. Acquired in 2019.

Splash (1974)

Splash's self-titled second album from 1974 takes the band from their American horn rock styled debut, and stretches out into three lengthy tracks. It gives us the listener a what-if scenario as to what Chicago Transit Authority might have sounded like were they part of the European jazz underground rather than held hostage to commercial aspirations and AM / FM radio demands. Of the three aforementioned pieces, the highlight for me is the near 14 minute closer 'Sambahmadu', with its intriguing mix of Latin styled jazz rock and Asiatic themes.

Ownership: 

1974 PLA (LP). Acquired in 2018.

2019 private (CD). Part of the Splash 1970-1979 (Samtliga Inspelningar) box set (see above).

2008 (review); 4/10/18; 10/8/19 (update)

Also would like to review all the bonus material as described above.

4/10/18 (new entry)

Synthesis (73) ~ France

Synthesis (1973)

Synthesis (not related to any other French bands named Synthesis) fit squarely in the traditional horn rock genre, similar to many of the US / UK bands of the era. I'd say Synthesis tracks closest to classic early Chicago, and that's a good thing in my book. With song titles like 'Dilemma of My Life', 'Walkin' In the Hell', 'Insanity', 'My Obsession', and the three part closer 'Symphony for a Stranger', I think it's safe to assume that Synthesis weren't aiming for the bubblegum hit parade. The songwriting is top notch, the horn charts are exhilarating, the guitar is fuzz laden / psychedelic, and the energy level is high. And the album gets freakier as it goes, and I've said this a few times before, that's always a hallmark of a great album. As if they said, "Oh screw it, no one will buy this, so let's just GO FOR IT!". Yea, baby. A bit late in the game for this type of sound but a must for fans of horn rock.

Ownership: 1973 Fabulous (LP). Gatefold.

Not reissued as of 3/12/25

8/4/19 (update / new entry)

Mogul Thrash. 1971 England

Mogul Thrash is most famous for being the point of entry for a one John Wetton, though in reality this was guitarist James Litherland's band fresh off his stint with Colosseum. Brian Auger is on hand for direction and some piano. Future Average White Band members provide the horns. Auger/Colosseum provides a good guidepost for the musical content as well, with the added attraction of the aforementioned horns, giving us that unique UK brass rock feel. 'Elegy' is a stunner, with another highlight in 'Going North, Going West'. A very good album that remains quite surprisingly under the radar.

CD: 1999 Disconforme (Andorra)

One would think an album with such a blue chip pedigree would be better served in the reissue market. Not the case. Finding the CD at an affordable price (and not scratched up) can be a challenge. It took me a few years to secure mine, though I'm not sure demand is soaring. Because of this, and the album's notoriety, pirates own this title with multiple bootlegs on LP and CD proliferating about. I keep expecting Esoteric to put this one back on the shelf, but perhaps the pirate market killed off that chance. The Disconforme CD is no great shakes, lacking even their usual liner notes, but at least it's legit and features 4 relevant bonus tracks. They altered the original track order as well*.

*Back of the CD states: "Due to the time limits of the original vinyl, the track list was selected by the shortest takes. Now the producer, after a deep checking of all the tapes, made a definitive selection of the best releases."

In addition to the above remarks, Disconforme also added their sole single 'Sleeping in the Kitchen' (1970), a very representative track that would have fit well on the album proper. The flip side is 'St. Peter' which is taken from the album direct.

McCully Workshop - Genesis. 1971 South Africa

McCully Workshop were one of the more well known bands coming out of the late 60s South African psychedelic scene. On their sophomore effort Genesis, the band adopted their psych background and combined that with the then-popular horn rock movement. It's a fascinating blend, as McCully Workshop created something wholly original within a familiar space. The McCully brothers hold down the rhythm section and lead vocals, while new guitarist Bruce Gordon provides the fiery psych toned solos. The key member here is Ian Smith who plays trumpet, flute, flugelhorn, and trombone. They multitracked his instrumental sections, so he sounds like a full horn section! I don't think I've ever heard one person contribute so much brass sounds on a record like this. And the flute sections are sublime.

The compositions are decidedly progressive rock oriented, with multiple tracks carved up in sections very much in the same spirit of the early King Crimson albums. The music itself still has its psychedelic provenance and I was most reminded of The Moody Blues, but with the songwriting of Chicago Transit Authority instead. Very much in line with some of the more progressive oriented UK horn rock bands such as Brainchild, Greatest Show on Earth, and Galliard. If any of these bands push your buttons, then Genesis is a must own.

Personal collection
CD: 2009 Fresh Music

Originals are very rare, much more so than the debut. This CD was my introduction to the album, which I purchased not long after release. It comes complete with full liner notes and masters tape sound. Fresh Music is by far and away the best reissue label from South Africa.

Innervisions ~ USA ~ New Jersey

Beginnings End (1977)

---6/22/15

Innervisions were an eight piece horn rock band from New Jersey and perhaps the most surprising aspect of this release is the recording date. This kind of record was waaaaaaaaaaaay past its shelf life in 1977. It sounds more like 1970 era Lighthouse than anything coming around this late. But it's still mixed with that wonderful and aggressive Terry Kath-like raw guitar and a few complex horn charts. The pop is really a bit too saccharine to highly recommend to progressive and underground rock fans, though it is a pleasant listen if in the right frame of mind. And honestly being the sentimentalist I tend to be, I find myself attracted to music such as this. Overall a strange anachronistic album with a very cool private looking cover.

---10/11/22

In hearing this album again last night, I enjoyed a +1 listen due to my increasing enjoyment from that particular era of sentimental pop. But I still have to shake my head on just how out of time this album really is. No one was doing music like this in 1977, especially here in the States.

Ownership: 1977 Visions Ltd. (LP). Lyric insert. Great cover as noted above. The pressing, however, is atrocious. Makes the Soviet label Melodiya seem like Mobile Fidelity Sound Lab by comparison. All copies (apparently) have dimples, and mine has the added bonus of a stress lift on the last two tracks of side 2. Would have been nice had the seller pointed that out. Its impact is no worse than the rest of the album where occasional ticks and pops are the norm. This is an album that would benefit greatly from any kind of master tape quality reissue. Also worth noting is that that the labels and the back cover are reversed. For whatever reason, Discogs insists the back cover is right. But Side 2 is Side 1 if scoring at home.

No reissues as of 3/30/25.

6/22/15 (review); 11/23/18 (new entry); 10/11/22 (update)

Vecchio ~ Argentina

Afro-Rock (1971)

---10/18/09

Afro-Rock is the debut album by Argentine keyboardist Luis Vecchio, later resident of the Canary Islands. Recorded for the sound library label DeWolfe, the album is frequently mentioned in hushed reverence among the beat digger DJ collecting crowd. And it's easy to see why, given its massive brass charts, funky bass lines, fluttering flute, choppy organ, and additional hand tribal percussion. Unlike most incidental film music, Afro-Rock works more like a regular instrumental album and isn't just a disparate bit of sounds and rhythms. Each song can hold its own, and is definitely positioned well for repeated listens. To my ears, Afro-Rock seems a prototype for a group like The Budos Band, who were to show up some 35 years later with a similar sound.

---2/1/23

New CD came in last night, so I revisited the music. I'm doubling down on The Budos Band reference. It's as if that Brooklyn based band absorbed this album completely before going to the studio for the first time!

Ownership: 2022 Kray (CD). Straight up reissue without any further data. Been confirmed to be legit. Looks like the label obtained the license from the original label (Music DeWolfe) but didn't collaborate with the artist(s). Lost opportunity. Originals are price prohibitive in relation to my interest in it, so this CD will have to do. The sound is good at least.

10/18/09 (review); 11/16/18 (update / new entry); 2/1/23 (acquired / update)

The Albert ~ USA

The Albert (1970)

And the award for most confusing discography goes to.... The Albert! Two albums, both self-titled, same year, and on the same label. Yea, that makes it easy to research.

The Albert definitely fall on the soul-jazz / pop side of the horn rock equation. But there's some really fine horn charts, hard guitar, and organ that separate this one from the pack. Also check out the well done sax and trumpet solos. So not the best the genre has to offer, but fans of same will want to investigate.

Former ownership: 1970 Perception (LP). Acquired in 2010.

12/17/10; 2/13/14 (review); 9/18/18 (new entry)

TCB ~ USA ~ New York

Open For Business (1970)

TCB's sole album is a mix of soul based horn rock with gruff vocals and bluesy motifs, coupled with a gentle folk side recalling perhaps Michaelangelo of One Voice Many fame. Roller rink organ, fuzz guitar, harpsichord, male/female vocals, alto/tenor sax, and trumpet are the primary instruments. The music is very much a sound of its time and recalls other such acts like The Albert, Sod, 4th Cekcion, etc... The band's ace up the sleeve, though, is the 23+ minute closer, which shows TCB stretching out in jazz rock fashion. A choppy organ, bass, drums vamp is laid down, and each instrument is allowed some time for an improvisational solo including a bit of scat singing. While not exactly groundbreaking, it is unusual to find this much time allocated for such music - especially on what is essentially a pop rock record. A fine album worth investigating. Quite a long one too considering the era in which it was released.

This TCB is not to be confused with Elvis Presley's backup band who operated from 1969 to 1977. And just like that TCB, this ensemble is indeed an acronym that stands for Taking Care of Business.

Former ownership: 1970 Traffic (LP). Acquired in 2014.

11/1/14 (review); 9/8/18 (update / new entry)