2026 Prog Journal Vol. 1

Kit Watkins - Labyrinth. 1981 Azymuth (LP). Kit Watkins was the keyboardist for Happy The Man, and this album has his high quality trademark songwriting all over it. There's some wonderful melodic compositions throughout. The issue here is the instrumentation, production, and the sounds produced. Very plasticy. It's an early attempt at the one man band concept plus Coco Roussel on drums who might as well be a machine. One of the few times I'd recommend a re-recording. Would be interesting to hear Labyrinth as a full band recording with analog instrumentation. (9/1)

Darxtar - We Came Too Late. 2005 Nasoni (LP). Gatefold. Red vinyl. Sweden's Darxtar were one of the early proponents of the space rock revival of the late 80s and early 90s. I had a couple of their CDs back in the day, but I just couldn't get into their brand of space rock. I honestly can't remember how they sounded, though a dull Hawkwind leaps to mind. When I found this nice looking LP cheap at a Denver record store, I had to give them another shot. At this point, Darxtar are a song based rock band with psychedelic trimmings and textures. One can tell they knew who Dungen were, but they don't at all play up their "Swedishness", which is too bad. Darxtar most assuredly associate themselves with the UK branch of the space rock tree. They're not retro either, very much a band of the 2000s. With that in mind, the title doesn't really make much sense. The "born too late" phrase belongs to those who feel they should have lived in an earlier era. That's not this album. When I think of a retro psych UK band, my go to's are The Wolf People and Syd Arthur. Those groups are most whimsical, and yes, more psychedelic as a consequence. And this isn't retro space rock like Cranium Pie either. Seems like I'm really ragging on this album. It's not bad at all. Has a nice spacy late 70s / 80s Pink Floyd vibe about it. The guitar tone is pleasing and the playing more than adequate. Perhaps it's the lack of instrumental rave-ups that troubles me. It doesn't appear that Darxtar and me are ever going to have an enjoyment intersection. They have seven albums to date, plus I could stand to hear those earlier two again, so I'm not giving up on them. To note, the CD adds two more short tracks (~four minutes total) that are not on this LP. (8/28)

Priam - Diffraction. 2001 Musea (CD). I had this one in the sale pile but realized I never took down any notes to support that decision. Let's gives this title another go. This is their second album and very similar to their debut, which I did jettison out of here already. In hearing this again, one could easily draw a straight line to what Tiemko were doing a full decade prior. My loyalties, along with the time / place aspect most certainly favor Tiemko. Diffraction is an instrumental proggy fusion with focus on soaring electric guitar and digital synthesizers. The production is very much a 90s / 00's type of affair. Slick and glossy. Sax and clarinet do add a much needed dimension. There's not a lot of room left for invention in this space, as countless artists ran down the same path at the same time. Nonetheless, Priam provides the listener a very professional and personal take on a familiar style. There was a time when I tried to support every artist I could, and had amassed quite a collection of quality CDs. But I flat out didn't have the time for all of them. The mindset of the obsessive collector is beguiling. Real time it's hard to notice you're in it, until one day you look from afar, and say "how did I get here?" While I'm most certainly still a crazed collector, I have managed to tame myself a bit over the years. More goes out than comes in. In fact, it's pretty tough to get in here period. Which gets us back to Diffraction. I found myself enjoying this album. Just not enough. A common tale. Hence it's placement in the sell bin. Now I can justify why :-) (6/24)

2025 Prog Journal

Transatlantic - SMPTe. 2000 InsideOut (CD). Transatlantic were one of those prog supergroups that were quite popular in the late 90s and throughout the 2000 decade. This was their debut and they still get together on occasion and release new material.  I never bothered with any of these acts real time, so the thrift shop is coming in real handy to see what I missed. This collective brings key players from Dream Theater, Marillion, Spock's Beard, and The Flower Kings / Kaipa. So the band moniker is accurate. Not surprisingly the album opens up with a six part, 31 minute opus. They were absolutely going for prog street cred here. Opening impressions is that one hears retro prog, especially classic Yes, mixed in with the modern variation of said sound. Spock's Beard and The Flower Kings do seem to be the leading lights if looking for quick comparisons. Instrumentally the music is fantastic. Some of the vocals sections drag, especially when in chorus mode. The latter being the Neil Morse annoyance contribution. It would be easy to be cynical about such a release, especially coming from a hardcore underground perspective. But that's not fair at all, as these guys put together a very fine, professional release. One that clearly was carefully composed, rehearsed, and recorded. That doesn't mean this album is for me, however. There's something very contrived about it, and lacks that emotional and creative spark we get from the amateurs. But for those who are into "names", you really can't go wrong here. (10/23)

Family - Anyway. 1971 United Artists (LP). The story goes that Family weren't satisfied with their last studio album - failing to capture the band at their finest (a familiar argument). So for Anyway they split the album as half live and half studio even though it's all new material. The live side isn't recorded very well so that doesn't help. The other issue here is the tracks sort of fly by without notice. There's really not much that stands out - whether it's a memorable tune or a mind bending instrumental passage. I'm sticking Anyway in the prog section as I'm not really sure where else to put them. Maybe classic rock would have been better, though that's not their reputation. On the plus side, this album did reignite my interest in the band. I do have a couple of their albums already on CD, and now I picked up one of their recognized classics on LP. A feature may be coming soon (nope) (6/16).

*Steve Hackett - Clocks. 1979 Charisma (EP). The title track, coming from Spectral Mornings, is a super version featuring Novatron. You'll recognize many of the Genesis themes on 'Acoustic Set' utilizing only acoustic guitar and flute, and which seemingly has as much applause as music. 'Tigermoth' also comes from Spectral Mornings and is another fantastic rendition with heavy Moog, flute, and electric guitar. The last hurrah for Genesis and prog music. Have to keep this. Oh great - EP's as large as LPs and looking to downsize. (2/2)

Discus - ...Tot Licht! 2003 Gohan (CD). Collection revisit. Have you ever wondered what it would be like if you combined prog metal, avant prog, and 80s Japanese symphonic prog with female vocals? Yea, I hadn't really given that one much thought either. But if I did, Discus' second album would be the answer. Discus demonstrates a complete lack of focus and decides to give you as much progressive rock ideas as they can come up with on the fly. Genre hopping within the prog world was somewhat popular in the 2000s, and Indonesia's Discus were one of the leading lights, obscure as they may have been (though they did play live in North Carolina). Interesting that they also appear to be very religious, both Christian and Muslim together. In any case, a fascinating listen, but I don't feel albums like this. A familiar theme: Appreciation doesn't always translate to excitement. This version has a six minute bonus track. (1/6)

* - keeping for the collection

2024 Prog Journal Vol. 4 - Complete

Frank Zappa / The Mothers - The Grand Wazoo. 1995 Rykodisc (CD) (1972). Collection revisit (Dec). Zappa is the ultimate example of an artist who refused to be pigeonholed. As such, most folks have their favorites by him, or at least those albums they consider worthy of repeated listens. I know there exists fanatics out there who say Zappa could do no wrong, quite possibly because he was so eclectic. For me, Hot Rats is his grand achievement, and then I have a few I really enjoy, and the rest I can live without. The Grand Wazoo is the only one currently in my collection that I wasn't so sure about. And, of course, the album is about as consistent as his career. The lengthy title track is an odd kind of big band orchestra hybrid. Thinking Third Stream here, but more towards the rock side than jazz. This is followed (at least on CD) by a couple of Zappa's typical insouciant numbers, with much silliness interjected into the serious compositions. Honestly I think he just woke up every morning to be a contrarian and to shock people. And he was clear headed about that too (read his book). 'Eat That Question' is my kind of Zappa, and my kind of early 70s jazz rock. He wasn't a pioneer in this field, but it was unusual for a "pop" artist to take on this field of music at the time. Carlos Santana did similar, but with a different focus. Closer 'Blessed Relief" pulls out the gentle melodies of the Hot Rats era but with an almost smooth jazz approach. I think if The Grand Wazoo was an early high school or college discovery for me, I'd be pretty zombie-eyed about the contents. But I was in my late 30s by the time I got around to first hearing it, and already well established mentally, personally, and spiritually. So it's just another album to me. And not a very consistent one. I can let it go. No memories here.

*TEE - Total Edge Effect. 2022 Pretentious Dinosaur. For their prior album Tales of Eternal Entities. I said: "TEE return with their distinctly mid to late 70s warm European progressive rock sound. Flute, guitar, and analog sounding synth lines dominate the melodies, while the rhythm section mixes things up often to keep the music from becoming static. As in the past, you'll hear traces of Asia Minor, Solaris, Gotic, and perhaps more pointedly than ever, the godfather of such a sound: Camel." No changes here. If there's a sound that I instantly enjoy it's the kind TEE peddle. I probably need to stop buying more product, as I have more than enough, but these kind of albums never disappoint. Intriguing Japanese mini-LP type release, but done by French TV's own Pretentious Dinosaur label. (Dec)

Jethro Tull - Heavy Horses. 1978 Chrysalis (LP). Pulled out of a local store's dollar bin (Dec). The last of the 70s Tull albums for me to hear. Oh wait, I still need to hear War Child. In any case, Heavy Horses sounds every bit like the meeting place between Songs From the Wood and Stormwatch. More rocking than the former and less commercial than the latter. Not very exciting for me though.

* - Keeping for the collection

2024 Prog Journal Vol. 3 - Complete

Sezione Frenante - Metafora di un Viaggio. 2014 Ma.Ra.Cash (CD). Collection revisit (Dec). Sezione Frenante are one of a handful of groups who performed live in the 70s before disbanding without any recorded output, only to reform in modern times and release one album or more. The returns are mixed on these bands, some having adapted better than others. Sezione Frenante sits in the middle of these type of groups. On the one hand they do have those impressive breaks that makes the genre so special. And it's prog rock all the way, no silly attempts at pop stardom. On the other, there's this nagging feeling they relied too heavily on modern instrumentation and production techniques. One starts to wonder "what could have been?" in their initial incarnation. As I immerse myself deeper into the contents, I hear a strain of neo prog that I hadn't noticed before. Which isn't necessarily a bad thing in my world. Fortunately they maintain the Italian language (and sung very well by newcomer Francesco Nardo) keeping it out of the Genesis clone discussion. Gosh, if I already didn't own shelves full of this kind of prog from Italy already, I'd keep this. But downsizing is in full force, and this one never resonated with me at any level except academically.

Hopo - Senti. 1992 Anthology (1982) (CD). Collection revisit (Nov). As noted on the Mo.Do. post, the amount of progressive rock albums coming from Italy were almost non existent from 1978 to 1986. Senti is one of the rare albums to get out, and you can tell there was no "movement" left in Italy for a group such as this to build and learn upon. The album opens with a synth pop number, pretty good for the style, but irrelevant to rest of the album. Otherwise it's classic Genesis styled prog with plenty of homestyle cookin' like PFM and the rest of them. Overall it's fairly simple and amateurish. One of those their heart was in the right place, but they weren't quite ready for prime time. The longest songs (2 and 6) are also the most interesting. Bonus tracks are essentially a live concert of the same music save one track called 'Mister Rock' which is about all you need to know there. No variations on a theme, and the recording isn't great to begin with. Overall a fine work, especially for its time in history, but Italy has so much more to offer.

*Pocket Size Sthlm - Immortality: Cleaning the Mirror Volume 2. 2018 Mill Hill (LP). Collection revisit (Nov). Pocket Size is a band that I got in on the ground floor with and dutifully documented their first two albums enthusiastically. A year after the release of this album, their 3rd, Peter Pedersen reached out to me direct to see if I was interested in purchasing the LP's since he was going to be in the USA. I said sure, and I ended up grabbing all three. The CDs of the first two are just small slip cases, so I included them with the LP's of the others. He was also going to send me the CD of this title, but he forgot I think. No big deal. In any case, my initial reaction to this album wasn't as positive as the other two, and I didn't take any notes. So now some five plus years later, let's dive in. The album was recorded live in 2016 in front of what sounds like four people. As with their other albums, this isn't a solo endeavor but rather a full band effort. An early 70s instrumental prog mixed some space rock jamming is what you can expect here. There's a touch of the jazz rock style as well. I think this may have been one too many cleaning the mirrors for me. Not getting the same vibe as I did out of the other two. Also not very Swedish, more generic in terms of region.

*Bo Hansson - Music Inspired By Watership Down. 1977 Sire (LP). Picked up for $5 at a record store in Albuquerque (Nov). This is one of those albums I'd heard back in college in the middle 80s, liked it, but never bought a copy for myself. I could say that about all of Hansson's catalog actually, only picking up Magician's Hat recently. Hansson's style of highly melodic organ based instrumental progressive rock has really aged well for me. Classic Mike Oldfield seems to be more of an influence than prior, especially considering the electric guitar presence, and that can only add points to the score. The guitar, incidentally, is provided by none other than Kebnekaise legend Kenny Hakansson. The album was released in Sweden as El-Ahrairah. 

MediaBanda - Dinero y Terminacion Nerviosa. 2007 private (2xCD). Collection revisit (Nov). MediaBanda's second effort (post Fulano) is an overwhelming 90 minute work filled to the brim with ideas. One has to admire the sheer will to produce such an opus. The music ostensibly belongs to the avant-prog genre with its quirky and densely written charts. High pitched female vocals, often wordless, point to the Cos / Northettes school of Canterbury. The music is mostly of a happy nature, and there's clearly a tilting towards jazz here (especially on 1.6), smoothing the clinical edges that avant-prog usually brings. With so much time at their disposal, MediaBanda gave into the temptation to experiment recklessly in the studio, providing plenty of uncomfortable listening moments (1.4, 2.6, parts of 1.6 and 2.1). Seems to be a typical reaction by avant-prog bands that sense they may be too uptight, and so they go too far the other way and completely relax any kind of musical standard. Better off just doing a heavy psych jam really. The only real curveball here is the final track which starts out in Eddie Van Halen mode before launching into a complex hard blues rock number, sounding more like Present than Miriodor. Overall, as I've mentioned many times prior, admiration is not the same thing as appreciation. I know academically this is a well crafted effort. Doesn't mean I necessarily want to hear it though.

*Artsruni - Cruzaid. 2002 Musea (CD). Collection revisit (Oct). Right from the first few notes I was reminded of Asia Minor, a band with roots from nearby Turkey (historically speaking, probably not a welcome comparison, but if music is the language of peace, perhaps it is). Flute and guitar lead the instrumental parade, with the former providing most of the melodies. Artsruni is the last name of the guitarist, and his style pulls away from the 70s and brings in a modern sound, including pig squeals. Perhaps to its detriment. Other guideposts here would be Solaris and, of course, Camel. Fascinating booklet that details the rise of Armenia and its ties to the Crusades and Christianity. Mostly lost, no doubt, to the pagan West audience the CD was sold to. Unfortunate.

*Anacrusa - Fuerza. Rayuela (CD) (1979). Collection revisit (Oct). An unusual conclusion from this fine Argentine band. They started their career primarily as an indigenous folk troupe and eventually emigrated to France. While there, they added more rock elements to their recipe, giving them a progressive rock and world fusion flair. Fuerza takes this concept even further and adds orchestral touches. Given their highly melodic structure to begin with, along with Spanish female vocals, the album sounds more like something Burt Bacharach or Sergio Mendes might come up with. But with odd bursts of psychedelic guitar, making the music that much more intriguing. In reflection, there really isn't a comparison for Fuerza. This uniqueness makes it a collection mainstay. I did originally own the Argentina LP of this but sold it off many years ago when the CD came out. This CD is sketchy at best, but suffices for what I need from the album at this late stage.

New Triumvirat - Pompeii. 1977 Capitol (LP). From the Rocky Mountain record show for one dollar (Oct). I remember being offered this for a couple of bucks back in college in the 80s, but instincts told me to avoid. Now it's depreciated half from that large sum, and so why not try it? And my instincts proved correct - again. The first side seems like a rewrite of ELP's Trilogy with emphasis on the lesser ideas from that album. Side 2 is better and has a couple of compositions mixing in fusion to its advantage. But they are fleeting. Then there's the awful balladry, not even close to playing to their strength. I guess I'd still say it's a good album, but I don't see any reason to go past the first triumvirate of Triumvirat albums.

Jethro Tull - Songs from the Wood. 1977 Chrysalis (LP). From the Stanley record show in Denver (Oct). Still catching up on Tull albums I missed in my past. This album has a very strong reputation, and in fact RYM rates it higher than any Tull album except Thick as a Brick and Aqualung. According to the current ratings, it's only a hair better than Stand Up and Minstrel in the Gallery. I just don't hear it. To me this is very much a folk rock album with scant evidence of the prior Tull sound. It starts out fine, but there are many stretches of pure folk rock. Which by itself doesn't mean it's not of a high quality, but it certainly moves away from my interest area.

David Cross - Testing to Destruction. 1994 Red Hot (CD). Collection revisit (Oct). This CD was one of those recommendations from Audion back in the day and I probably picked it up via their Ultima Thule mail order channel as well. Every few years it floats its way to the bottom of the stack, and I hear just enough each time to keep it. Never took any notes for no good reason other than my usual laziness. Now we're eight years on from that last save listen, let's see if things improve. Cross is an interesting character in that he's most known for his violin work with King Crimson in the early to mid 1970s. Then he mostly disappears and doesn't get his solo career going until he's in his mid 40s. One that continues to this day, even though he's about 76 years old. So for a guy who was in his middle age, Testing to Destruction showed he still had a lot of energy to burn. This isn't some low key instrumental album nor is it a pathetic play for a long forgotten radio style. It's an aggressive form of jazz fusion, not too far from those groups Michael Shrieve was playing with in the 90s, especially his collaborations with Shawn Lane. Djam Karet would be another reference. There are odd vocals here and there, only to confuse things it seems. For the era in which it was released, getting anything like this from a former "Big UK prog band" member was something to celebrate. But a clean sober listen reveals not that many great ideas, and lots of experimentation looking for a trademark sound. One he could not find here. Sure it's very good, but it's not next level. Time's up for Testing to Destruction at Casa UMR. Almost made it 30 years here though.

Attila Kollar - Musical Witchcraft. 1998 Periferic (CD). Collection revisit (Oct). As noted on UMR prior, I find Solaris one of the greatest of the 80s and early 90s progressive rock bands. And it was only last year that I revisited Musical Witchcraft II which enjoyed a +1 listen. So going into my revisit session with his solo debut, I figured this would be a perfunctory listen and up the rankings the album would go. But that wasn't the case. Much more sterile than his follow-up, and one can notice some of the pitfalls of Nostradamus showing up here as well (both were released near the same time). The compositions don't possess the usual magic (so to speak) that Kollar usually brings. Given that his second album was much more accomplished it appears he recognized the flaws here as well.

* - Keeping for the collection

2024 Prog Journal Vol. 2 - Complete

*Aunt Mary - Janus. 1990 Vertigo (CD) (1973). Collection revisit (Oct). Janus represents a smorgasbord of popular early 70s music, especially of the progressive rock persuasion. 'For All Eternity' sounds like Yes; 'Candles of Heaven;' is their ELP contribution; 'Stumblin' Stone' has a War slant; 'Mr. Kaye' is their Beatles rendition; 'Nocturnal Voice' could have been on the Junipher Greene album; and finally 'What a Lovely Day' sounds like any number of early 70s obscure UK prog bands. It was the right sound at the right time.

Aufklarung - De La Tempesta… L'Oscuro Piacere. 1995 Pickup (CD). Collection revisit (Sep). Yet another obscure 90s prog CD languishing in the collection that hasn't been touched in over 20 years. Much praise was heaped onto Aufklarung's debut on release, as it offered more than the usual Marillion styled neo prog / arena rock coming from Italy. Their sole album possesses quality songwriting and challenging segments, but does suffer from a typical 90s production. Singing in English takes away from the "Italian" edge, and some of the music falls flat. As you'll see repeatedly below, it was "good for its time" but hasn't aged as well as some of the albums I've recently featured in UMR from this same era.

Kraken in the Maelstrom - Embryogenesis. 1993 Mellow (CD). Collection revisit (Sep). One of the oddest releases in my collection. Not strange in an overt manner, more in the way it all comes together. Embryogenesis is a good example of a band with great ideas, but their musicianship hadn't caught up yet with their imagination. The guitarist has an excellent sound, one that would feel comfortable in a post-Hendrix funk band circa 1971. The keyboards sound like something you could buy from a discount retailer inside of an old suburban mall in 1985. The music is all over the place without rhyme or reason. Melodies are non-existent, vocals are in iffy out-of-tune English, and they throw in some atonal sax just to ensure you're irritated. The master tape cuts off unexpectedly in places. Honestly, what were they doing? I dunno - I bought this album not long after release and kept it for the quirkiness, which I usually reward. But maybe this one is a bridge too far. I don't think they're incompetent, perhaps it came out of the oven too soon? Going to have move on from this title.

Il Castello di Atlante - Sono io il Signore delle Terre a Nord. 1993 Vinyl Magic (CD). Collection revisit (Sep). Solid debut from Italian prog group arriving at a time when we were still starving for new acts in a much missed style. There were a few, many singing in English and trying their hand at Marillion styled neo prog. Il Castello di Atlante were from the old school. However their sound was very much of the early 90s. Many new exciting bands would arrive from Italy only a year later, pushing this album to the margins. I kept it all these years as there's some fine tracks and the violin is splendid at times. But today it finds itself at the bottom of the rankings and this listen didn't push it back up. Time to let go. 

Los Jaivas - Alturas de Machu Pichu. 1989 CBS (USA) (CD) (1981). Collection revisit (Sep). Another one of those albums lingering in my collection for 30 years based on reputation rather than my actual enjoyment of it. I love the freak folk debut and the wild prog / Krautrock-genre of their 3rd effort. But this one plays it too safe. It does have plenty of prog rock moments - mixed in with traditional Andean music. Too watered down for me to consider this their best album, and to take it further, not really collection worthy for me anymore.

Yes - Union. 1991 Arista (CD). Estate sale find for a buck (Aug). Like every dedicated prog fan, I heard Union not long after release. Like every dedicated prog fan, I hated it lol. Scoffed and mocked it in fact. Because that's what you were supposed to do. Shows you that Yes were more religion than music by that point. I long zeroed out my grade on it, having no recollection whatsoever of its contents, other than it supposedly sucked. But is it so bad really? No, of course not. It's the 80s Yes, Asia, ABWH contemporary sound. Union is a long album that involves clock watching, and nothing too catchy to maintain much interest. It has the Yes trademarks but with a coat of super gloss and none of the magic. Not sure how that would be possible given this is largely a studio amalgamation. One wonders why a band can't recreate the sound of their youth, but Yes wasn't the exception, more the rule.

Jethro Tull - The Broadsword and the Beast. 1982 Chrysalis (LP). From a friend's garage sale (Aug). Catching up on Tull albums I missed in my youth apparently. Despite sporting a proggy / metal styled cover, it's neither. Many fans point to this as a return to the sound of early 70s Tull. Not really. It's like that Kayak - Merlin album I wrote about many years ago. It's "good for 1982" in a mainstream kind of way. Nothing underground about it. Slick 80s production hides whatever creativity Anderson and team may have brought forth. You can hear a little flute and some tepid guitar - and lots of modern synthesizers. It was the sound of New Wave contrasted with AOR styled compositions. I would still submit it's a good album, but nothing to raise much interest.

Strawbs - Grave New World. 1976 A&M (1972) (LP). From a large garage sale buy in Monument (Jul). Deceptively beautiful gatefold package with booklet. More folk than prog at this stage, though the mellotron is much welcomed. Almost kept it but they lost me on side 2.

Jethro Tull - Too Old to Rock 'N' Roll; Too Young to Die! 1976 Chrysalis (LP). Thrift shop find (Jun). Starts off pretty decent but gets increasingly boring as it goes. Song oriented without the songs I'd submit. Definitely a weak link in Tull's 70s output. I was surprised to learn that even nice gatefold originals (like this copy) are only going for $5. It's the first one I've found in the wilds in five years. But demand is light and I can understand why.

Jeff Wayne - War of the Worlds. 1978 Columbia (2xLP). Thrift shop find (Jun). Rare to find in this great condition and with the book. One has to wonder just how much juice Wayne was able to squeeze from to be able to put out such a big budget affair. Judging by the number of pressings, this album can only be considered a wild success. I'm not a rock opera guy, so it mostly flew by without notice for me. In today's world, the kids call this "good cheese". I don't think it's cheesy rather it's a sincere work of art. Just not my thing.

Dunaj - Rosol. 2001 Indies (1991) (CD). Collection revisit (May) More art rock from Czechia (as they now call it). Their next album Dudlay has a special place in my heart for a variety of historical reasons. I grabbed this one much later, and it doesn't resonate as much as, say, the other MCH Band albums. There's a similarity to all the songs here. I think I'd enjoy better if a couple of these tracks showed up on a compilation. 

Finisterre - In Limine. 1996 Mellow (CD). Collection revisit (May). To be honest I thought I had this one rated too low. I'm a fan of their debut, and especially of Zuffanti's retro prog group La Maschera di Cera. As it turns out I had it rated properly. Like the debut, it's a bit all over the place. But this one comes across as more sterile. I also felt that way when I first obtained the album upon release. Tastes change, and I thought this would be one that would have joined me on my journey. If anything, we're further apart. It is a very good album, but I fear that In Limine falls into the dreaded "too much of the same thing". 

Echolyn - Suffocating the Bloom. 1992 private (CD). Collection revisit (May). Echolyn are/were one of those bands that I was dictated to that I must like, but I just never could get into them much. Some 30 years has passed, so I think its time for an objective listen at my advanced age. Mannn... I still don't get them! At least on this album. But I do see the allure. One cannot accuse Echolyn of not giving it their all. They are talented - this is obvious - and their brand of the Midwest variation of Gentle Giant should push every button I possess. But it doesn't. Why? Not really sure. It's overly vocal oriented which can be a turnoff for me. They don't let the instruments breathe. Their melodic style doesn't resonate either. I can honestly state that I like the album, but it isn't next level for me. I fear to say I have to move on from this CD. Maybe other albums will trigger the right emotion, but Suffocating the Bloom never did. 

Submarine Silence. 2001 Mellow (CD). Collection revisit (Apr). Created by members of the Italian neo prog band Moongarden, Submarine Silence jumped on the retro prog bandwagon and went for a more 70s aesthetic. The overall music approach is very similar to mid 70s Genesis (including Paul Whitehead artwork from the Foxtrot era). It's all instrumental and I was quite impressed when it first came out. Perhaps too many other albums have come along since that are much better at replicating the sounds of the past. In reflection, Submarine Silence misses on the analog warmness, and it does possess a more modern touch, even if that wasn't their intent. One more "too much of the same thing" when expanding the lens. 

* - Keeping for the collection

2024 Prog Journal Vol. 1 - Complete

*Honduras Libregrupo - La Unica Posicion es la Oposicion. 2008 Azione Artigianale (CD). One of those albums that makes me want to stop writing about music, as it's difficult to capture what they're doing. But what they're doing I like. A mix of prog, psych, Krautrock, experimental, and jazz rock. It sounds unpleasant on paper but the album is an enjoyable listen. I need to explore more from these guys. (May)

*MCH Band - Karnevale. 1999 Black Point (CD). There's just something unique about Czech art rock. It's progressive rock, but not in the typical Yes/Genesis way. King Crimson and VDGG seem to be the bellwethers, but even those are distant references. I've gone on about my personal experiences with the MCH Band, so I'm already biased to their greatness. I struggle to define what this sounds like, but I do enjoy it. (May)

MKII - Burning Daylight. 1994 SI (CD). An unusual release from SI, moving away for their standard neo prog template. This is glossy atmospheric instrumental music with bluesy guitar solos. A fine album, though not distinctive enough to keep. (May)

Golem - Orion Awakes. 1996 Psi-Fi (CD). Promise not to go on about what a fake this is. This is one of the more obvious pieces of evidence that it's not from the 70s and features a pastiche of different sounds from different eras. Whatever - blank the backstory out - and you have a decent retro Krautrock album. It's infuriating they didn't tell the truth. The music continues to suffer because of the lie. I went on about it, didn't I? (May)

*Tempano - Atabal Yemal. 1998 Musea (1979) (CD). Excellent symphonic prog from Venezuela, typical of the late 70's European scene, but still not yet rooted in South America. Instrumentation is a bit primitive as to be expected, but the spirit is alive. The CD adds three tracks newly recorded in 1998, but were intended to be on the debut. These naturally sound better (still primarily analog), and the music is well composed. Even a bit of Univers Zero can be heard, the opposite of their sunny disposition. This is one of those albums where you're better off having the CD than the LP. (Feb)

Holy River Family Band - Earthquake Country. 2001 Wild Places (CD). Following on from Welcome to the Riverhouse, Holy River Family Band continue on their trek down the songwriting path. On Earthquake Country you will here more of a folk-rock sound with more diversified instrumentation. Much in the same way that The Spacious Mind's Sailing the Seagoat was a musical departure for that  band (who share members with the Holy River Family Band). (Jan)

* - Keeping for the collection

2023 Prog Journal Vol. 2 - Complete

Indexi - Modra Rijeka. 1978 Jugoton. I purchased the 1995 CD not long after release, but sold it some years after since it was going for good money back then (and apparently even more today). I recall being somewhat mediocre on its contents. I ran into this title recently and thought I should check it out again. There's not a whole lot of prog coming from Bosnia, and Modra Rijeka definitely fits the usual Eastern European mix. That of folk rock, crooner, and all-out symphonic progressive. Could have been from East Germany or Czechoslovakia, minus the language difference. Niemen comes to mind here too. The instrumentals work best, naturally. Well I can see why I let this go, but I do like it. Won't obtain it again though. (Dec)

Taurus - Illusions of a Night. 1981 Multi. Speaking of the old days, here was a CD I had the opportunity to buy in the earliest days of the medium (1989). I wasn't convinced it was something I would like, and money was still very scarce back then, so I chose not to get it. 35 years later, I still haven't heard it. Let's see what I missed? Well it's certainly not something I would have embraced back then. But today I have a soft spot for these "proto neo" bands. What did I just say? Well anyway, you know what I mean. Very Dutch. Like a more poppy Rousseau I suppose. Yes seems to be on their collective minds too. The English vocals are a bit strained, but I do like the guitar and organ work. The mellotron is for background rather than being a critical component. Rhythmically uninteresting as well. (Dec)

First Band from Outer Space - We're Only In It For the Space Rock. 2005 Transubstans (CD). Collection revisit (Dec). As with electronic music, I have way too much space rock. I have a strongly favorable review of their second album and there's mention of flute and even Swedish vocals. I suspect those are the magic ingredients needed to maintain interest here. This is their debut and it's pure Hawkwind worship at this point. And sure enough the last track possesses the fine counterpoint that the flute brings, and represents the album's best cut. A day late and a dollar short though. Solid album for certain, but I have enough it, so it can go.

Happy the Man - The Muse Awakens. 2004 InsideOut (CD). Collection revisit (Dec). Tri-fold digipak. One of those albums I dutifully picked up near the time of release, listened to once, thought it decent, and filed away. I had no memory whatsoever of what it sounded like. The Muse Awakens was met with initial enthusiasm from the "prog audience" (presuming one ever existed) and it's easy to see why. Essentially Happy the Man took the formula of their first two albums and brought it to 2004. On reflection, that's all this is. Nothing really groundbreaking or inspiring, just a watered down version of Crafty Hands without the goosebump inducing melodies. It's still a very good album, but not enough for me to hold onto. I have enough of the real deal. Much is made that it would have been better had the lead composer and keyboardist Kit Watkins been involved. I don't agree. It's not like Watkins was releasing prog classics in this era. Perhaps the original synergy would have been there, but we'll never know. As for reunion albums, it fits in the middle - not an uninformed try at being hip and relevant, nor a band who still had a creative fire burning that needed an outlet.

Catapilla - Embryonic Fusion. 2022 Sunbeam (1970). Fascinating archival release from the good folks at Sunbeam. Featuring Jo Meek (sister of Anna) this is a completely different version of the band than the one that debuted a year later. That album is a pretty tough listen (for me at least) given its free jazz structures and the histrionics of Anna Meek. On Embryonic Fusion (no relation to the side long track on the debut apparently), I was quickly reminded of Julian Jay Savarin, which of course makes sense given Lady Jo Meek's presence. It's all about the Meek girls apparently. Musically it ties closer to the earlier Julian's Treatment with its Jefferson Airplane psych influence. Nice saxophone as well, and mostly in control with occasional bursts of skronk. A couple of folk tunes too. Very much a worthy find, though the tapes aren't in the best shape. Not something I need for the collection but would recommend it for sound-tolerant listeners building up their prog lot. (Nov)

The Vocokesh - All This and Hieronymus Bosch. 2007 Strange Attractors (CD). Collection revisit (Nov). The Milwaukee based collective of F/i and The Vocokesh were always an extreme bunch, taking space rock to its logical conclusion. At first I thought I might keep this one, as it's relentless in its pursuit of maintaining a high degree of intensity. But over time I was worn out, as these albums often tend to do. They don't have a lot of ideas, so they make up for it with grinding through the next jam. This is a very good example of the style, but once again, I just have too much of it. 

Collegium Musicum - Continuo. 1998 Opus (CD) (1978). Collection revisit (Nov). Despite featuring three long tracks, Continuo is a much more conventional release than what the band had released prior. Take same era Emerson Lake and Palmer (side 4 of Works Volume 1), but with room to jam, especially on a new weird sounding synthesizer. The vocals are subpar but otherwise the music isn't hard to listen to, especially for organ fans. Certainly a decent work overall, but not enough to distinguish itself and maintain room on the shelf. I can let it go.

Amygdala - Complex Combat. 2008 Soleil Zeuhl (CD). Collection revisit (Nov). Bought this not long after release, and my memory had it as an aggressive type of Zeuhl, somewhat typical of the Japanese branch. On this first revisit some 15 years later, that wasn't really the correct conclusion. Amygdala play a decidedly energetic form of avant prog with Zeuhl trimmings. This is exactly the type of music I've lost complete interest in. A lot of notes, rigid structure, and edgy instrumentation. And no tunes. The music seems to be created by a computer. For the genre though it's still a fine album, so if your tastes run that way, Complex Combat comes recommended.

*Bo Hansson - Magician's Hat. 1973 Charisma. From the Denver record show (Oct). Hansson's albums used to be ubiquitous in the used bins during the 80s (not so much anymore), so I had a chance to hear all of his classic 70s works back then. My grades are useless and I plan to zero them all out until I revisit each. I had no foundation with Swedish prog, and that would apply to 99.5% of Americans I'm sure - to this day. Why Hansson's albums sold much copy in the States at all remains a mystery. Though it probably helped he played on Tolkien themes, which had a cult following even then. The original came out on Silence and sounds very much like their stable of bands at the time, notably Kebnekaise and Flasket Brinner - all contemporary cronies of Hansson. A beautiful instrumental album with tons of vintage keyboards, flute, electric guitar, and superb Swedish folkloric melodies. I had planned on buying all of Hansson's albums as I found them in the wilds, but they haven't surfaced (or they're too expensive). Eventually they will though.

Aviator. 1979 Harvest (UK). Another inexpensive Dr. Boom pickup (Oct). Nice original UK copy. I thought I might really like this title as it seemed to be another "proggy AOR" type album from the late 70s that I've been digging of late. Its reputation is pretty solid too. However, this one is a bit too radio friendly for my tastes and I'm not fond of the smooth jazz style of the saxophone. It does finish strong however. Thought about keeping it, but there's no more room anymore for albums like Aviator.

*Manfred Mann's Earth Band - Solar Fire. 1978 Bronze (Germany) (1973). How I got this far in life without hearing Solar Fire is something of a mystery. Though Mann is rarely mentioned in progressive rock circles, he most certainly should be. This is just as much of-the-genre as any obscurity coming out of Europe during this era. Mellotron, synthesizers, loud guitar, and complex compositions. The album is common as spit here in the States. Usually fairly trashed though. This beautiful gatefold import edition is the nicest I've seen. Grabbed from Dr. Boom here in town for a thrift shop price. (Oct)

Rinnesya. 1995 Double Trap. Collection revisit (May). This is from the Japanese school of all-intense, all-the-time instrumental progressive rock. Very much like Bondage Fruit, Koenji Hyakkei (though not Zeuhl), and Pou Fou. I was thinking the other day that I do like some bands in this space, especially Happy Family, so it would appear they're missing an emotional component that resonates. If the term "brutal prog" gets you excited, I would definitely recommend this album. It's very obscure but not unattainable.

2023 Prog Journal Vol. 1 - Complete

Trace - Birds. 1996 Musea (CD) (1975). Collection revisit (Sep). This is just the kind of album that isn't making the cut for the collection. It's perfectly fine and fits the progressive rock idiom to a tee. Very much influenced by ELP's prime works, you get a pitch perfect classically influenced keyboard prog trio. I have plenty of that already and with no real nostalgia regarding this band (in fact, I avoided them in my initial foray during the middle 80s and early 90s, not sure why though) - this one can go. 

Opus Avantra - Lord Cromwell Plays Suite for Seven Vices. 1988 Suono (Japan) (1975). Collection revisit (Aug). A hodge podge of classical, experimental, and rock. Generally that's a winning combination with Italian groups, but this album seems aimless. It's not a bad listen, far from it, but nothing really sticks out. I've owned this album in one form or fashion for over 30 years, and it's not something I ever remember or can't wait to hear. 

Panzerpappa - Astromalist. 2012 Rune Grammofon (CD). Collection revisit (Aug). Over four months ago I wrote about the demise of Koralrevens Klagesang in my collection and further stated: "I sold Farlig Vandring a few years ago. That leaves Astromalist whose judgement day awaits." And here we are on said judgement day. Track 1) demonstrates more of a Canterbury element than prior (or at least as I recall, despite Richard Sinclair being on its predecessor). 2) is on more familiar terrain. Ticks a lot of the avant prog boxes with diverse chamber music instrumentation, tightly composed charts, quirky melodies. Like Miriodor or Samla Mammas Manna. 3) rocks out, but in a sophisticated manner, recalling French TV when in that mode. Mellotron sounds are apparent in various places, though probably sampled. And so it goes, mostly similar to track 2. It's hard to root against Panzerpappa. They know their audience and they're playing directly at them. In the same way a retro prog band would target me, Panzerpappa does similar for the avant prog world. The issue I have with this album is the same I have with many of its ilk: My mind enjoys it, but I don't feel it. You kind of wish a funk band like Faze-O would have walked in for a couple of jams. My other standby rationalization is that I have enough music like this, so I don't need more. Though if I say it too much, I'll run out altogether. lol. I think Astromalist is a very good album, but yea, I don't need to keep it. It doesn't excite me. This closes out Panzerpappa for my collection. They continued on for another two albums, which I'd certainly be willing to hear if given the opportunity. 

Yochk'o Seffer - Delire. 1978 Mosha-Naim (1976). A very good rendition of avant prog / Zeuhl styled music. Similar to Zao, though a bit more unhinged in the jazz style, which I can appreciate more now than ever. I would have kept this even a year ago but I'll let someone else own it. (Jun)

Machiavel. 1994 Spalax (CD) (1976). Most of these weed out revisits are "fence items" that require a tough decision on whether to keep or not, but in the case of Machiavel, the latest listen resulted in a -1. It's for certain gone now. But what happened? Primarily it's the vocals. As you can probably tell by reading this blog, I'm very tolerant of vocals (outside of death metal grunting and growling). I don't mind crazy affectations, screaming, bizarre foreign adaptations, etc... But if you sing out of tune, monotone, and flat - and the music relies on you to propel it further, yea that's going to be a problem. Some bands have similar bad vocals, but when the music is 80% or more of the overall product, I can look the other way. I just talked about that on the first two Alquin albums for example. On the other hand, Machiavel's music is very good, though nothing exhilarating or head turning. Kind of a standard issue European mid 70s prog sound. Which in my book is A-OK, but not enough to save it. I have their second Jester on LP, so we'll see how that fares whenever I get to it. (May)

Tempus Fugit - Tales From a Forgotten World. 1997 PC Melody (CD). Collection revisit (Apr). Bought this when it was released and it represents the kind of international progressive rock being released during the era. Though coming from Brazil, Tempus Fugit could have been from anywhere, though they sound more French or German in approach. Their use of English is passable but not stellar, and there's a lot of music to digest. It's a very well done album, better than average for certain. It's a mix of classic big-name 70s UK prog mixed with neo tendencies, especially noted in the synth and guitar work. 

London Underground. 2000 Record Heaven (CD). Collection revisit (Jan). Italian group who goes hard for the 1970 UK psych-into-prog sound. Which on paper sounds fantastic. And this isn't a poor facsimile at all, but lacks any highs. Love the cover, really encapsulates the era perfectly.

*Stencil Forest - The Abyss. 2005 private (CD). Collection revisit (Jun 2022). Second album from Stencil Forest, some 23 years later. Though relocating from Ft. Wayne, Indiana to nearby Denver, the band hasn't changed their sound much. If you miss the proggy AOR days of 1978 to 1980, then Stencil Forest is here to remedy that. The album features eight short radio friendly songs sandwiched between two lengthy prog suites, including the 24 minute closer. As noted on the Opening Act review, I have a very good friend who is related to the band, and that group member sent me the CD back when it was released. No chance for objective analysis from me. I do really enjoy the music here, though I prefer the debut by some measure.

2022 Prog Journal Vol. 1 - Complete

Magic Bus - The Earth Years. 2020 Back to the Garden (LP). Magic Bus are one of many bands trying to capture the glory years of the Canterbury movement, mixing psych, prog, pop, and jazz. Unfortunately Magic Bus can't seem to shed a 90's indie/alt influence in their songwriting. In fact, concerning the songwriting, that element is almost nonexistent here. And that's the indie thing - strum a few chords and sing out of tune about things that are important to them and no one else. The opposite of what the Canterbury groups brought. Not all is a loss, as there's plenty of good neo psych to be found here too. But not enough to save it from the sell bin. (May)

Vance - An Epitaph for Mary. 1982 private (LP). As the years go by, my appreciation of the original neo prog movement has gone considerably up. Much of that can be attributed to nostalgia versus objective analysis. I had fallen hard for prog in the early 80s, but there were very few contemporary bands, and many of those I didn't know about until many years later. By that time I was already dismissing neo prog too lol. But in the last 10 years I've slowly added more and more albums from that era in (or back in) to the collection. Vance is a band I remember, but never heard, primarily because no one suggested I do. Sadly, in this case, they were correct. Vance is one of those Dutch bands that have their heart in the right place, but didn't have the proper background to understand the allure of prog that audiences were craving. The melodic songwriting, lengthy tracks, and guitar work are definitely prog rock motivated. But the canned production and plodding rhythms are stilted and boring. They were a product of the early 80s and I think they wanted to fit in with modern audiences while bringing a decade old approach. It didn't work then, and it still sounds wrong. An Epitaph for Mary is like a proto SI label album. I really wanted to like this and gave it more time than usual. But I just can't get into it. (Apr)

The Brotherhood Of Eternal Love - Green Morning Baby. 2000 Garageland (CD). Collection revisit (Apr). From the same heads that gave us Holy River Family Band, The Brotherhood Of Eternal Love would be their jam outlet. Similar to Humus / Frolic Froth in that way. Featuring one 73 minute track, some of this indeed does get tedious, but for much of it, I found it enjoyable. It really will test your tolerance of the space rock style, as it can jam for what seems like three hours. Find something to do while listening to it though, or you will doze off.

Frolic Froth - Eponymous. 1997 Smogless (CD). Collection revisit (Apr). As you have read in these very pages, I'm a huge fan of Humus. They were one of the few bands to take a page from the Sensations' Fix playbook for space rock. That is to say, they add a strong progressive / Canterbury rock component. Frolic Froth, on the other hand, is mostly the same cast of characters, but here they give up any composition aspect for pure Krautrock jamming. It's one of many albums shooting for the Guru Guru UFO sound. This is probably the best example of something I enjoyed in the late 90s (bought new when it came out) and I'm just tired of it by now. I can listen to Guru Guru and others from that era all day, but these newer bands just don't possess the same magic or background. Pretty tedious stuff, and this listen resulted in a -1.

*3rd Ear Experience - Boi. 2013 private (CD). Collection revisit (Apr). I misunderstood this title. It's not really just space rock, but has a strong hard rock prog angle to it as well. These kind of albums are much more interesting to my ears. More Nektar and less Hawkwind that is to say. Easy keeper.

The Vocokesh - Smile! And Point At The Mountain? 1995 Drag City (CD). Collection revisit (Apr). I got this in a collection buy in the late 90s, and I think it's been in the weedout stack ever since. The Vocokesh were related to F/i and are a Milwaukee based collective of freaks who were one of the first bands of the 1980s to try for a cosmic Krautrock sound. Almost all of their early albums are noisy, and lack the focus of the 70s masters. They were to improve, but this one remains chaotic to my ears.

*Our Solar System - Origins. 2018 Beyond Beyond Is Beyond (LP). OK, what's with the annoying label name? I recently found a new sealed copy that was heavily marked down. I hadn't heard of this Swedish collective even though this is their 5th album and features Dungen members. Yea, it's Brooklyn Hipster alright. As I stated about Earthless, I'm pretty much filled to the brim with music such as this, but it's also hard to shuffle it out the door. I still enjoy a good old fashioned psychedelic Krauty jam here and there. It's nowhere near as engaging as the original masters, nor does it take the sound to the next level as the aforementioned Earthless recently did. It's definitely style over substance, but if this is considered mundane, then we must live in a very exciting world. Keeping it for now, and sometimes music like this clicks later on. (Mar)

Seventh Wave - Psi-Fi. 1975 Janus (LP). Seventh Wave is post Second Hand and the ultra obscure Fungus. They were popular with my runnin' set in Dallas in the early 90s, though I never took a shine to their two albums. But as been reported here often, time has been good to many of these revisits. Not so much with Psi-Fi. There's a strain of music coming from England that I've never really enjoyed, and Seventh Wave dabble in that here. It has glammy and theatrical elements, somewhat like Queen in that way. There are some pretty good progressive rock moments here, and I enjoyed a +1 listen. But not enough for a spot in the collection. (Mar)

*Earthless - Night Parade of One Hundred Demons. 2022 Nuclear Blast. 3 sided LP package with etched 4th side, all on gold vinyl. Yippee yayhoo. Hipster Essentials. But I might as well get my money's worth. As I mentioned before, when you have trade credit at a local store, there's pressure to take on new albums to settle the debt. I was familiar with Earthless, from their Rhythms from a Cosmic Sky album, which I heard not long after release (2007). If there's a style of music that I need less of, it's the kind Earthless peddle - that of the long form space rock jam. But if you're going to do it, you might as well do it right, and Earthless most certainly does. There are three long jams here, with the first being broken up into two parts. The last track 'Death to the Red Sun' is something special, with the kind of rave-up one rarely hears from modern bands who seem content to go along with image and sound, but little else. 52 years on from Guru Guru's UFO, and bands are still plowing that field looking for yields. Earthless takes the core of that sound and stretches it out. I really appreciate the energy the band brings to this recording. So yes, highly recommended, though I really didn't need another example. But this will likely outlast many others that are similar. (Mar)

Mike Keneally - Boil that Dust Speck. 1995 Immune (CD). Thrift shop find (Mar). There's a style of progressive rock that I'm predisposed not to like, and Mike Keneally exists exclusively in that area. At least on Boil that Dust Speck. It lacks focus, is incredibly self-conscious on how complex it is, and comes across as more virtuous and superior to what you and your friends tend to like. Oh look how smart we are! Despite all of these preconceived notions, I almost kept this one. There are some truly fantastic progressions to be found, but sometimes I feel artists like this wouldn't know the difference. As my wife likes to say (in an unrelated context) "they can't see the dirty from the dirt". 

*Ruphus - New Born Day. 1973 Polydor (LP). Collection revisit (Feb). We talked about this debut a bit in the recent Ranshart entry. New Born Day is their heavy prog debut, and is more in line with the Norwegian scene of the day like Junipher Greene, Aunt Mary, Popol Vuh and their ilk. There are hints of the UK prog scene here, and the odd Yes reference, but nothing like Ranshart. Really strong work if early 70s Scandinavian styled heavy prog is your bag. Like with Murple, I hadn't heard this album in 20+ years, at the point of procuring this LP. Also checked out the bonus tracks on the CD, which is their 1974 single. Both of these are heavily Yes influenced and should have been included with Ranshart, rather than here. Given they are unique to this release, and quite excellent, I'm holding onto the CD as well.

* - Keeping for the collection

2021 Prog Journal Vol. 1

Gordon Giltrap - Visionary. 1976 The Electric Record Company (LP). From the 25 cent bin at Independent (Dec). I remember seeing this album in the import bins going back to the 80s. Instincts told me to avoid this one, and this listen proved those instincts to be correct. Not to suggest it isn't a fine album - it is - but it's all a bit too formal for my tastes. Generously one could compare this to Mike Oldfield, but it misses that depth. It's more sketches than compositions. After each piece I feel obligated to clap. Ideally suited for a PBS music special. Cool 1930's styled artwork.

*Renaissance - A Song For All Seasons. 1978 Sire (LP). Found this last week at a thrift shop with an entire Renaissance drop (Aug). It was a weird find. Every one of them was close to Mint - and that's all that was donated. No other albums like it. With most of the Renaissance catalog, I was familiar with their albums as far back as 1994. But I never heard this one! In some ways this album brings more juice with it than their predecessors. It's clear they are making an AOR play, but they are still rooted deeply into prog rock. Especially the two longer songs (title track; 'The Day of the Dreamer'), both the clear highlights. Otherwise it sounds as if The Alan Parsons Project barged into the studio for a mix and match session, including orchestra. Which isn't such a bad thing, if you ask me. I think I might prefer A Song For All Seasons over most of their back catalog, though revisits are in order. Also contrary to my peers, I happen to love the cover. Very much a typical Hipgnosis styled design. I find the pensive young aristocratic pretty lady quite appealing myself, with the fall like backdrop adding a dose of melancholy. It fits the music. Comes with a full lyric inner sleeve, but alas my copy is missing the poster.

*Renaissance - Prologue. 1972 Capitol (LP). With the above (Aug). Prologue is not an album I have a long history with, only getting the CD as part of a discography buy online about six years ago (2016). But with this listen, I'm much more drawn in this time. In particular I'm enjoying John Tout's piano work alongside the driving rhythm section. This is new gal-on-the-block Annie Haslam's debut with the band, and she adds both wordless and lyrical singing. It's clear that she's a burgeoning talent. And is that hard psychedelia on the 11.5 minute 'Rajah Khan'? Too bad they didn't follow that direction further. OK, Prologue moves to the top of my Renaissance collection. Curious if anything surpasses it. As for the collection, the CD is on the shoddy One Way label (1991), which makes the decision easy. Keeping the LP, especially considering the fine gatefold cover. Yet another Hipgnosis design, though in this case, those "slats" look either like unused 80s computer components or leftover 60s asbestos cancer causing ceiling tiles. Hmmm.

*Manfred Mann's Earth Band - Nightingales & Bombers. 1975 Warner Bros. (LP). Thrift shop find (Aug). Confirmed what I instinctively knew and had been told: This is a very fine progressive rock album. I guess it's here that Mann broke Springsteen's 'Spirit in the Night', but otherwise most of this would have fit comfortably on any number of mid 70s UK prog albums. What propelled the South African Mann to continue on in this space, when essentially he was a pop star, is anyone's guess. Perhaps he felt trapped by the establishment and wanted to put his brand of creative rock on the map? Whatever the reason, he certainly is good at it. None of the tracks he writes ever goes anywhere commercially, but they will transcend time better than 'Do Wah Diddy Diddy'. 

Eden's Taste - Meilensteine. 1983 private (LP). Online acquisition (Aug). There aren't too many of these kind of 80s neo prog albums that I haven't heard by now. I remember the name from the 80s and 90s, but no one really spoke highly of it, and every dollar had to count back then. Over the years, I've acquired a fondness for the 80s neo prog sound, so let's see if this makes the cut. Well, first thing I have to say, is thank goodness I didn't get this 35 years ago. I would have hated it immediately. But today I hear an album of worthiness, but still not to my personal taste. When listening to Bavaria's Eden's Taste, it's hard to imagine them not being from East Germany. They sing in German (which was de rigueur in the DDR), the pace is Pink Floyd-dog-slow, the instruments sound cheap, and the production is quite muddy. It's definitely neo prog, and the Genesis-isms are out in full force. So what you end up with is this weird combination of Stern Meissen and Electra mixed with Marillion. Certainly the album has some fine instrumental moments, and I really don't mind groups singing in their native tongue (I prefer it reall). But it lacks the kinetic spark that accounts for the best of the 80s neo bands.

Wally. 1974 Atlantic (LP). Thrift shop find (Jul). Here it is. I was wondering when I was going to find Wally. This album was constantly pitched to me in college as a great prog album. Of course it was from used record store owners itching to dump it on suckers like me. I didn't like it back then (never did buy it nor did I have it rated) - and honestly I still don't think much of it. Though English, it sounds like an American folk rock band that occasionally stretches out into the prog world. Especially on the two lengthy pieces 'The Martyr' and 'To the Urban Man'. Certainly it is good on the whole, but considering I have an enormous collection of worldwide prog, I'm not sure there's any room for the middling Wally. Now maybe I'll try to hock it at the next record show. What goes around comes around.

---2020

Rick Wakeman - Journey to the Centre of the Earth. 1974 A&M (LP). From a thrift shop in Pueblo (Nov). I bought my first copy of this album when initially discovering used record stores in the early 80s. Eventually I found it to be an embarrassment of the collection and dumped it. OK, I see it at a thrift - has the insert - what the heck, let's try it again. After all, I've always been fond of Six Wives and the King Arthur album is pretty good. Then again, Wakeman also released what I consider the all-time worst album ever (I'm serious) with Rock'n Roll Prophet. Journey Centre foreshadows that infamous work. It's almost a parody of progressive rock. Ridiculous really. Goodbye.

* - Keeping for the collection