Franco Battiato - Sulle Corde di Aries. 1973 Italy

Battiato's third effort is an otherworldly mix of primitive electronic, folk, and world music. There's really no other album quite like it, which makes it that much more interesting. I didn't have a good grasp of this album, and it's been 28 years since I last heard it. But even after this revisit, I would have a hard time articulating the music. It's almost like systems music, yet it's very warm sounding which is contradicting. From an era when exploration of sound had no boundaries.

Ownership: CD: 1992 Artis. Jewel case release. Booklet has liner notes in Italian and photos. Mastered straight from vinyl and obvious too. Mail order acquisition (1996).

I had a chance to grab the original LP in Baltimore with that large buy in 2021. It wasn't cheap and I'd already spent a fortune. And I wasn't sure this was an album I wanted to keep, but that was due to my unfamiliarity with it. Given that the CD sounds like vinyl, I should have forked over for it. Oh well, not the end of the world, but I'll be looking for it now.

1996; 12/28/23 (new entry)

Anthony Phillips - The Geese & The Ghost. 1977 England

In the dictionary, next to the word Pastoral, is a picture of The Geese & The Ghost. I don't think there can be a better aural description of the word than this album. Half a dozen years after leaving Genesis, Phillips returned with his first solo effort, and one can hear Trespass throughout. Though belonging more to folk than prog. When hearing the few scant rock sections, one pines for more, as the contrast is jarring in this setting. Of course it never gets close to 'The Knife' in terms of intensity, but some of that residual anger would have been welcomed. No matter, The Geese & The Ghost is meant to be heard on a lazy afternoon. Peaceful and relaxing. A wonderful album.

Ownership: CD: 199? Virgin (Europe). Jewel case release with lyrics and one relevant bonus track. Like with Ummagumma, this is an album I'd much rather own on CD. There was a time when it was hard to find in this format, and I don't recall when I replaced the LP, but probably in the late 90s. My first copy was the US PVC LP pressing, which you could still find sealed in 1985. And yep, also bought it at Metamorphosis in Dallas that we just spoke about in the Electric Sun review. Though this album was much easier to find than most of what I bought there.

8/12/22 (new entry)

Renaissance - Ashes are Burning. 1973 England

Some of you might recall that last August I found a pile of near mint Renaissance albums on vinyl. Looks like I reported on 3 of those, but left off just as many including Ashes are Burning. I discuss my history with the band in at least one of those posts, so I'll skip that here. Ashes are Burning is the second album to feature soprano Annie Halsam, and the band's overall trademark sound is more established. I miss the quirkiness of its predecessor Prologue, but I'm warming more and more to Ashes are Burning. The lengthy bookend tracks are the clear highlights for me, bringing a Yes-like progressive rock structure - highlighted by John Camp's Rickenbacker bass work, similar to Chris Squire's. The 4 middle tracks are more geared towards folk and commercial rock, but not really, as they do maintain a progressive rock slant as well. Most of the Renaissance albums continue to grow in stature within the collection.

Ownership: CD: 1995 Repertoire (Germany). Decided to stick with the existing collection CD of this title whereas most of that thrift shop LP find replaced what I had on CD prior. Features copious historical liner notes from noted music journalist Chris Welch which takes it over the top - plus I like the sound of this CD. 

Historically I've owned the single sleeve version on Capitol at least twice. It's very easy to find here in the States, with most record stores charging less than $5 for clean copies.

1/15/94; 2/12/16; 9/26/21; 7/16/22 (new entry)

Saint Just. 1973 Italy

Saint Just's debut is an unusual album coming from Italy. Folk rock is its root system, but played with more urgency and with a haunting quality. In this way it's like the best of the UK bands operating in this space. There's not a lot like this from Italy though, maybe the first Opus Avantra or early Pierrot Lunaire, though not as experimental as that might imply.  Be prepared for Jenny Sorrenti's voice, which is high pitched, and just short of being annoying. But it is sung in her native Italian, which is a huge plus. Worth noting that Jenny (known as simply "Jane" here) is the sister of the more famous Alan Sorrenti.

Ownership: LP: 1973 Harvest; CD: 1994 EMI/Mellow. The LP is a wonderful thick heavy textured gatefold. Purchased online about a year ago at a bargain of a price (though not cheap by any means). The seller stated the vinyl was VG and detailed a couple of flaws. Read more like a VG+ to me, and with my cleaning regimen (which has become quite good), I figured I could raise the grade. Afraid not, it was perfectly graded (as was the cover which is VG+ to EX). Had this album been more of a rocker, then it would have been a pleasant listen. But because it does have a folk component, there's background noise to compete with in the quiet spots. Not overly distracting but just enough to make me want to hold onto the CD, which offers nothing else. But I'll take that pure sound. The CD was my introduction to this fine album and purchased new upon release. The back cover is this copy as we added it to Discogs.

new entry

Ptarmigan. 1974 Canada

Ptarmigan's sole album starts with the impression that this will be a typical acoustic guitar / vocal fronted folk album. But all bets are off starting with 'The Island', an extraordinary composition with haunting recorders (alto, tenor, and bass), thrashing acoustic guitars, otherworldly percussion, scattered drums, spastic acoustic/electric bass, and some mystical dual harmonic male vocals. At once you hear the serenity of Popol Vuh, the weirdness of Might of Coincidence, combined with something perhaps completely unknown. As the album delves deeper into the recesses of its own world, it becomes clear we are hearing something of the brilliant. Each composition is distinct, but uniquely Ptarmigan. Perhaps it's because of the isolated locale of the band, as they resided on Vancouver Island (a remote wilderness area across the channel from the city proper).

I don't think Columbia wanted any part of this, but the influence of a one Paul Horn managed to get the recording released on the major imprint a full year after being mixed in 1973. It wasn't a best seller, hence its rarity today. Do not miss this gem if you get a chance. Truly one of a kind, though within the context of the familiar.

Ownership: LP: 1974 Columbia; CD: 2005 Lion Productions (USA). The LP is a recent online acquisition and comes in a single sleeve with a black border. My introduction to the album came in the early 1990s via a bootleg LP which doesn't have the border (sold long ago). The first CD on the scene was actually a cd-r release by the band under the name Nordstrom/Dias. It came with a very informative booklet on computer paper. Six years later, Lion reproduced this as a factory pressed CD with a more professional looking booklet, and added some more information to it. Both copies are worth keeping.

9/21/13

Spirogyra - St. Radigunds. 1971 England

My initial scratch off notes from 15 years ago state: Spirogyra's debut has a slight Comus / Jan Dukes de Grey wigged-out vibe, then heads into more safe Fairport Convention / Pentangle areas, before heading back into the wyrd folkk as they might now call it. Love this sort of “mystery behind the bushes forbidden folk” sound.

On this revisit, I don't have that much to add really. As I state many times, the [Prog/Psych/Acid] Folk [Rock] description is usually misleading. Take out all the other identifiers, and you're left with a straight up folk album. Spirogyra is a great example of combining progressive rock and folk. It's definitely not as out there and adventurous as Comus and Jan Dukes de Grey, but there's no mistaking this for The Kingston Trio either. The key ingredients for St. Radigunds is the violin and the bass work, which is what gives it the rock element. Primary songwriter and acoustic strummer Martin Cockerham provides the designated "madcap" vocals and lyrics. Meanwhile Barbara Gaskin chimes in with some wonderful female vocals to offset the unpleasantness. It's her presence that often leads to Spirogrya being called a Canterbury band, which couldn't be further from the truth. At least as the identifying regional term has come to mean. Her next career move happened to place her in the middle of that troupe of musicians. In conclusion, St. Radigunds doesn't have the stellar reputation of other adventurous folk albums from the time period, but I personally consider it one of the beacons of the genre.

Ownership: CD: 2005 Strange Days (Japan). Purchased new online upon release. Mini-LP that replicates the B&C single sleeve original, including lyric inner sleeve. This replaced the Si-Wan reissue LP I owned prior.

Originally reviewed for the Outer Music Diary: Jul 2005 (and since edited on a recent listen) 

Jan Dukes de Grey - Mice and Rats in the Loft. 1971 England

Truly one of the most innovative rock albums from an era when that was the norm rather than the exception. Comus’ First Utterance is the only band that remotely comes close and that’s because it’s from the same school of insane acid folk rock. A three piece of guitar (mainly acoustic until the final title track where it’s electric), flute and drums with some occasional trumpet, trombone, clarinet, sax and "Zelda Chord" (an organ sounding stringed instrument). Not to mention the madcap vocals… and the whole thing rocks like nobody’s business. Three very long tracks with more ideas in one song than most conjure up in a career. Pure genius.

Ownership: LP: 1971 Transatlantic. Gatefold. Acquired online (2015).

CD: 2005 Strange Days (Japan). Papersleeve edition.

Due to a poorly thought-out design, many originals have damage to the first track on one side or the other (or more). It's a gatefold cover, but with a hard plastic PVC sleeve and a foam edge to store the vinyl in. Over time, this foam will chemically react with the vinyl to create permanent damage to the grooves. And the PVC sleeve is no friend of vinyl either. I lucked out with my copy. The PVC sleeve had jarred loose causing the vinyl to move away from the foam. So the only damage I have is in the dead wax not the music (whew!). Of course now I have it stored in an audiophile sleeve. As such, I have a more valuable copy than usual.

My introduction to the album was via the crappy Poor House cd-r (2001). Hard to believe we actually paid good money for those back then!

2001; 3//05; 9/1/19 (new entry)

Troisieme Rive - Banlieues. 1978 France

Troisième Rive's sole album was part of the electrified French folk movement, which had gained quite a bit of traction in Brittany with bands such as Malicorne and Gwendal. However this album is from Besançon, on the eastern front, bordering Switzerland - though there are similarities regarding the folk rock approach. A vocal-heavy album, so if you're looking for more instrumental expansion, you won't find it here. There's even a hint of Peter Gabriel-era Genesis in the vocal passages, but again, no major instrumental break outs (not to say there isn't some fine playing from all, especially the guitarist). Good for fans of French folk rock with a mild progressive influence. Features a fantastic album cover, however.

I did own this album back in the 90s, and sold off. In reflection, that appears to have been the right move.

LP: 1978 Disques Iris

Originally reviewed: April 13, 2011 (updated here)

Garolou - s/t. 1978 Canada

Garolou (name play loosely translated to Beware of the Wolf) were a Quebec based progressive folk group (entirely sung in French) similar to L’Engouvelent or Connivence. Originally known as Lougarou (Werewolf), the band were forced to change their name as it sounded too close to a more well known dancing troupe in Quebec. Garolou were more straightforward rocking than most groups in this genre. Side 1 is definitely the better side and peaks on the wonderful 'Je me suis habillé en plumes'. Starting with 'Alouette' the band moves to an almost pure folk sound. The epic closer 'Germaine' doesn't deliver the prog rock opus as expected, and is more a continuation of the above, but with rock elements. Overall Garolou aren't that far removed from the like minded efforts of Breton/Gallic groups such as Malicorne, Ys, Avaric, Tarentule, and many others.

LP: 1978 London

Originally reviewed: October 30, 2010

Eduardo Bort - s/t. 1975 Spain

When I started collecting rare progressive rock in the mid to late 1980s, Eduardo Bort's album was considered by many a dealer as Spain's single best progressive rock album - and mighty expensive too (and often times in the dealer world - most expensive=best). So I pounced on the first reissue commonly available, the Fonomusic CD, and anxiously awaited "this best" prog album from Spain. Huh? My inherent cynicism kicked into gear quickly, and my initial thoughts were more akin to "the xenophobes' choice of best album from Spain". In effect, it was in the comfort zone of your common 80s psychedelic dealer who dabbled in prog, but never could really accept any lyrical language but good ol' Engrish ("What's the point of music if you can't understand the words?"). Yes - I've read genius statements like this in the past. And with Spain, it's not just one language, but multiple, each adding a unique spice to the region they come from.

Over the years, I began to embrace Bort's album on its own terms, ignoring the cultural backdrop. The irony here is that Bort had no business singing in English, and is really the only weak element on the album. The music here evolves greatly from the psychedelic folk rock of 'Thoughts', onto the progressive hard rocking 'Walking on the Grass', and finishes in superb symphonic fashion, with multiple themes, meter shifts, and mellotron galore. Overall an excellent pan-European styled progressive rock album and definitely well worth owning.

Personal collection
CD: 1989 Fonomusic

I never did improve upon the initial CD, which is as basic as it gets with a single tray card. But the sound is fine and from the master tapes. Original LPs come in a fine gatefold, and I wouldn't mind owning one myself, but as noted above, it's always been a bit pricey. Incidentally Fonomusic is Movieplay Ver 2.0.

Worth noting that the original and early reissues do not list a definitive date beyond the recording date of 1974. Later reissues appended a copyright of 1975, which appears to be the correct release year.

The Way We Live - A Candle For Judith. 1971 England

The Way We Live was Version 1.0 of Tractor. A solid mix of prog, hard rock, psych, and folk is what you'll find in these grooves. Some really good ragers in 'King Dick II' and 'Willow', though most of the album could be considered somewhat mellow. Not a particularly riveting album, but not egregious either. Worth your time to hear for certain. They were to improve as Tractor, but the roots are clearly planted on A Candle for Judith.

Last listen: July 31, 2016

Siloah - s/t. 1970 Germany

Munich's Siloah were a commune-with-nature folk group, that only works in the era that it emerged from. If listening objectively (or sober), the listener will likely note all the obvious flaws, and ultimately be lulled to boredom. But when taking in the time and place, Siloah captures the mood perfectly of the free-from-boundaries mentality that was so pervasive amongst the rebellious German youth at the turn of the decade. An aural archive document of the real underground, something that would be prefab manufactured today, but here ignites the imagination.

To my ears, Siloah's debut recalls Denmark's Furekaaben - where it would seem forbidden someone would actually record the proceedings. But certainly the cosmic Pilz trinity, Paradieswarts Duul, and Kalacakra are in this same conversation, all to a lesser degree.

Like Furekaaben, the album is hardly a stellar masterpiece of songcraft. Best to approach as background music while perhaps viewing B&W photos of German urban parks. A libation wouldn't hurt.

Personal collection
CD: 1998 Garden of Delights

Worth noting that the 10 minutes of bonus tracks on the Garden of Delights CD are just as good as the album proper. In fact, the final track adds in a primitive synthesizer to great result.

Formula 3 - Le Grande Casa. 1973 Italy

Now here's an album that I had no use for when I first bought it. Like many Italian originals, I found it locally here in Dallas in the 1980s. Brand new copy. I had already owned Sognando... so I was thrilled to get this one too. Got it home, slapped it on the turntable and... What the heck is this? Sold it immediately, proud that I was a true progressive rock fan. Cough. Years later I secured another copy, and this time I put on my big boy pants. The album sounds exactly like the cover looks. It's pastoral, a bit poppy, and often times very beautiful. No manner of rationalization will likely raise this to masterpiece status, but that doesn't mean it's not a pleasant album. It's very much in league with what was going on in Italy at the time, and you can hear elements of this same sound on the debut by Il Volo, which Formula 3 rolled up into. I would only recommend this album to hardcore fans of the genre, and not as a starting point or early recommendation. Go in calm, and you will leave calm. And with a smile on your face.

Ownership: LP: 1973 Numero Uno. Gatefold. Acquired at VVV Records in Dallas (1988).

CD: 2003 BMG (Japan). Papersleeve edition.

1//88; 12/11/16 (new entry)

Emma Myldenberger. 1978 Germany

Though from Germany, Emma Myldenberger recalls the late 70s bands from the Outaouais region of Quebec. Groups / kollektiv's like Connivence, L'Engoulevent, Etoifilan, etc... a certain regional "of nature" quality that envelops the mostly instrumental folk based music. The female vocals only adds to the vibe. Other guideposts include native bands Parzival at their least traditional, and Broselmaschine when in ethereal mode. Pleasant music that can be described as the era's civil disobedience to the glitzy disco movement that was desecrating the medium at the time.

Personal Collection
CD: 2006 Garden of Delights

There are two distinct original LP presses, each with a different back cover (which I've pasted in here). The black one is considered the original by Discogs. I have the other one. I'm not sure for certain which is the original, but given that I bought my copy brand new in 1990 or so indicates that Discogs is probably correct in their assertion. Garden of Delights suggests they were released simultaneously. The CD contains 5 bonus tracks and copious liner notes. Update: I decided to sell the LP and only keep the CD for this title.

Fuchsia. 1971 England

Fuchsia's sole album can be described as thus: It's less pure folk rock than the Trees; not as lush as Mellow Candle; or as off the wall like Jan Dukes de Grey, or Comus, can often be. But somewhere within those parameters exist Fuchsia, an essential slice of that distinctly UK progressive folk rock sound. A very fine example of the genre.

Personal collection

CD: 2003 Night Wings (Italy)

The CD on Night Wings is excellent. It's housed in a fine digi-pak, and features liner notes from band leader Tony Durant, who also oversaw this reissue. I see that Esoteric has since reissued it in 2014, and I'll be curious if they improved on the sound. And there is room here for just that.

Snowdonia - Pallas. 1995 Spain

Well, now, isn't this a little gem hiding deep in my collection? Snowdonia is a band named after a national park region in Northern Wales. So, of course, they were formed in Madrid, Spain and the album was released in Italy. Snowdonia were part of the retro late 1960s boom that was all the rage in the middle 90s. And thus sounds like a mid 1990's band doing late 60's psychedelic progressive - especially to these 2015 ears (as I write this). Keeping up here? We're talking the type of band that Freak Emporium and Crohinga Well were pushing hard back in the day. The album was recorded in 1994/95, but not released until 1999 by Mellow.

A strong folk element is apparent with the female (some male) vocals (mostly Spanish with a smattering of English), though this squarely comes from the proto-prog cookbook of 1970. The keyboard ingredients include (typing from liners): Mini-Moog, Arp (sic), Leslie Hammond (sic again), Fender Rhodes, Mellotron, and Solina. Well, I hear no Mellotron, and the Solina is an ARP synth, one would hope they knew that (hmmm). Honestly I'm hearing a lot of simulated sounds, and they are cheating here a bit. Soooo '90s of them to do that (sigh, miss those days). And really, authenticity aside, who cares? The music is great, perhaps a bit sloppy - with little purpose other than to create interesting progressive psychedelic music, that is entirely their own, despite obvious past influences. And I haven't even hit the highlight yet: The wonderful psychedelic guitar playing of band leader Daniel Galera. The album improves as it goes, and with guest flute on the latter tracks, the music elevates to an entirely new level. Pallas peaks on the final track, the instrumental 'A Demon That's Dreaming', with wordless female voice, haunting keyboards, changing meters, and screaming fuzz guitar.

Ownership: CD: 1999 Mellow

Talk about under the radar. To illustrate this point, I am the first to register the CD on Discogs. Pallas is an album that is sadly long forgotten. The good news is that the CD is still readily available if any of this captures your imagination. I'm not selling mine that's for sure.

Spyros adds: "I agree that it is a sadly underrated album. Female vocals aside, the music in parts reminds me of a more laid-back early Camel. Great instrumental flight, but I don't like the vocals, unfortunately."

8/10/15 (new entry)

The Morrigan - Hidden Agenda. 2002 England

And The Morrigan's recording career appears to have concluded with Hidden Agenda. Featuring a capture-the-imagination medieval city center painting, and with a title hinting at a possible byzantine hidden agenda, perhaps we can expect this to be The Morrigan's most progressive and thought provoking album to date? The answer is no, it's more of the same: A solid mix of progressive rock originals and unique rocked out interpretations of English and Celtic folk traditional music. Which is hardly a bad thing. I've always appreciated The Morrigan more for their handwritten material, and tracks like 'In the End', 'The Other', and the 10 minute 'A Night to Remember' do not disappoint. In fact the latter track is arguably The Morrigan's finest moment. If this is indeed their swan song then they went out on a good note. 

Former ownership: CD: 2002 English Garden. Jewel case. Lyric and artistic booklet with photos and recording details.

5/5/13 (first listen); 8/26/14 (review / new entry); 12/3/24

The Morrigan - Masque. 1998 England

Masque continues in the same manner as The Morrigan's two previous releases. There is the usual blend of original material mixed with creative progressive rock arrangements of traditional medleys. Whereas Wreckers sounds like an extension of Rides Out, Masque sees The Morrigan stretching out to new horizons - with more sophisticated arrangements and an overall heavier sound. Like Wreckers, The Morrigan held back their more adventurous material until later in the disc. Highlights include the heavy and complex progressive rock track 'Moonghost', the Cathy Alexander dominated 'The Traveller' with its Hackett-esque guitar, the jazzy variation of the traditional 'Dribbles of Brandy', and the Ozric Tentacles (with vocals) inspired 'The Demon Lover'. A very fine album.

Ownership: CD: 1998 English Garden

8/26/14 (new entry)

The Morrigan - Wreckers. 1996 England

Six years after everyone ignored Rides Out comes Wreckers which basically sounds like a re-recording of Rides Out - though the tunes are indeed different. There hasn't been much progression since, and it appears they are trying to re-energize or regain their old audience - or perhaps attain a new one with their first CD on the established English Garden label (which incidentally was an offshoot of the Background reissue label that was focused on some of the most obscure 1970s UK folk rock rarities). I also hear a timid try in a few places for a Dead Can Dance styled Darkwave sound, though they were a day late and a dollar short on that front. There are two odd tracks towards the end of the CD (both originals) that show that The Morrigan are looking to break out from their standard sound. 'Wheels Turning' is a good try at the 80's New Wave of British Progressive Rock sound as popularized by Marillion and Pallas. And 'When the Rain Comes Down' has a reggae base complete with Moog synthesizers, once again demonstrating their Festival Scene roots. So given this premise, I'd have to say Wreckers is the most superfluous album in their canon. Certainly it's a fine work, and if you haven't already heard Rides Out then the sound will be most revelatory on initial impact I'm sure.

Former ownership: CD: 1996 English Garden. Jewel case

8/26/14 (review / new entry); 4/4/24

The Morrigan - Rides Out. 1990 England

On paper at least, England's The Morrigan doesn't sound like my cup of tea. In essence, The Morrigan play rocked out versions of English traditional folk songs. Or self-penned tracks that sound like English traditional folk songs. Fortunately I happened upon Rides Out not long after the CD release, and was captivated immediately. Not only are these spirited reproductions - or originals - but there is definitely a psychedelic/heavy rock slant to their approach (and guitar sound), reminding me of some of the early 70s greats like Mellow Candle or The Trees. The female vocals and recorders - heck the entire production - are crystal clear and one can be forgiven for breaking into a jig mid-song. It's apparent the band had roots in the UK Festival scene of the mid 80s, though by 1990 the band had honed their sound to a professional level. Not surprisingly I found myself enjoying the original material best, but if in a positive mood, the whole album works well together. A wonderful find, especially if you tire of the endless Public Broadcasting Company's tepid vision of said sound.

Ownership: CD: 1997 English Garden. Part of a large collection buy not long after this release. Jewel case with 2 page booklet containing detailed recording info plus a photo on the back. Originally released on LP in 1990. The CD features one relevant bonus track recorded at the same time as the album.

8/26/14 (new entry); 2/1/21