Hoelderlin ~ Germany

Hoelderlin (1975)

Hoelderlin's second album came three years later after their debut, and is quite a departure in sound. Opening up with a mellotron drenched prog rock instrumental, it's clear they've moved on from their Krautrock inspired folk sound. While the second track is folk based, it's more Jethro Tull than Emtidi or Broselmaschine. There are elements of Traum on A3 with its dark folky presence, though most of the composition is of a symphonic prog nature. A4 has a Genesis flavor due to the vocals, though it's a relatively straightforward song. This leads to the side long 'Deathwatchbeetle'. If there's any doubt where Hoelderlin's heart is, then this track underscores the point that they are ensconced into the prog world. Genesis remains a strong presence in their style at this stage.

Ownership: 1977 Spiegelei (LP). Acquired in 1993.

1993; 1995; 1998; 7/8/06; 10/3/26 (review)
 

Rare Birds (1977)

Rare Birds follows the unique Genesis meets cosmic / space rock hybrid of Clowns and Clouds, with yet another difficult-to-pin-down progressive rock album. The compositions are increasingly more accessible, with a certain soft lens focus coloring their sound. Viola is clearly their defining instrument at this point. Vocals are airy and melodic. The songwriting is excellent, and given the right commercial backing, Hoelderlin would have been household names. From a prog fans standpoint, the album's highlight is the driving instrumental 'Necronomicon'. This is an album that has grown on me tremendously over the near 30 years I've been acquainted with it. Definitely not an "immediate" release, so something to consider if you're encountering the music for the first time.

Ownership: 1977 Spiegelei (LP). Acquired in 1987.

1987; 7/10/07; 8/14/12; 10/11/15 (review); 2/7/23

Clowns & Clouds (1976)

Clowns and Clouds, Hoelderlin's third album, is a diverse work from this classic 70s German symphonic progressive rock band. No doubt Genesis is a major influence here, especially on the 'Clowns' side (tracks 1 to 3). 'Madhouse' could easily have been lifted from Genesis' Trick of the Tail, but with the addition of viola and squealing sax, which gives it an entirely unique sound. 'Your Eyes' is interesting to me, because it sounds like something you'd hear on a late 70s / early 80s Alan Parsons Project album, though the instrumental sections are much more progressive rock oriented. The 'Clouds' side is considerably more unique and is what makes this album special. Here, Hoelderlin offer up a more laid back and cosmic rock music. Violin, flute, sax, Rhodes, synthesizers, acoustic + electric guitar, and a steady rhythm section make for a serene and beautiful experience. Difficult to find comparisons for this side of their music, but perhaps the instrumental sections of Novalis' second album and Dawn-era Eloy can provide some context. The cover features a nice water painting.

Ownership: 1976 Spiegelei (LP). Acquired in 1993.

1993; 1995; 5/8/12 (review)

Also own: Holderlins Traum; Live Traumstadt

5/8/12 (new entry)

Steve Hillage ~ England

L (1976)

I was late to the party on getting the scent regarding Fish Rising. But I was really late in obtaining L. I remember seeing this title in the used record stores while in college during the middle 80s. For whatever reason, it didn't capture my imagination, so I left it there. I'm sure I heard the album prior to 2014, but I couldn't remember anything about it. Well, I could say the same thing now, as I revisit the title for the first time in 12 years.

The album opens up quite unusually with a cover of Donovan's 'Hurdy Gurdy Man'. This is followed by a space rock jam supposedly based on the song, though there's no musical evidence of a connection. It's quite spirited, and takes Hillage's You-era Gong style to a similar spot in the galaxy. It becomes clear at this point that there will not be a Canterbury component as on its predecessor. Rather Gong becomes front and center. The music is a mix of cover songs and Gong styled space rock jams. It's this latter sound that Ozric Tentacles would take forward into the 80s and beyond. There's about 25 minutes of really great music, and the remainder is a bit tedious. Not a bad average, and given its influence on future generations, the argument is strong that the album remains in the collection even if it doesn't always pass the bar.

The CD offers three bonus tracks, including an instrumental backing track to The Byrds' 'Eight Miles High', certainly a better fit musically than the Beatles and Donovan covers that made it to the album. The other two bonus tracks are worthy as well. The LP is still a cheap commodity here in the States, giving the CD the edge in both content and marketability.

Ownership: 2007 Virgin Europe (CD). Booklet with historical liner notes, photos, memorabilia, and recording details. Acquired in 2014.

11/22/14; 9/29/26 (review)

Fish Rising (1975)

Steve Hillage's debut is sort of an amalgam of You-era Gong and Hatfield & The North. Certainly the godfather of modern space rock, Hillage's group looks like a proto Ozric Tentacles, complete with wool caps, goofy names, and crazy song titles. Then there's Dave Stewart, probably the last guy to go in for such tropes, though he has history with Arzachel doing just that. With Hillage. Ah what the heck, one more time going out getting high with the boys (and girls) from school before getting serious. Well, sort of serious. So yea, Canterbury goes space rock. A combination that can be nothing but great, especially if one sticks to protocol. And they did.

This is one of those albums I somehow missed in college, but my running set in the early 90s showed me the way.

Ownership: 1975 Virgin UK (LP). Lyric insert and a label audiophile inner. Acquired in 2014.

First copy: 198? Virgin (CD). Acquired in 1992.

1992; 12/27/21 (review)

Other albums I own: Green

Previously owned: Live Herald; Rainbow Dome Musick

12/27/21 (new entry)

First Aid ~ England

Nostradamus (1977)

---2/9/11

OK, I've looked all over my LP for evidence. The label says 1976 and the gatefold cover says 1977. It just can't be. It has to be 1971 right? Even the old style Decca label seems ancient. Everything about it looks and sounds from another era. Did Decca have this one sitting in the vaults - perhaps mislabeled, and decide to release it six years later? Nostradamus, as you can imagine, is a high minded concept album about the supposed fortune teller. Complete with orchestrations, narration - and long guitar / organ jams. Intertwined with melodic pop songs of course. Right on Brother! If this sounds like something out of the Moody Blues or Salamander playbook, well then, you win first prize in the name-that-band sweepstakes. Of course, given this kind of anachronistic behavior, I think it's great. 

---9/29/26

That was my CDRWL entry. Time to enter into UMR while enjoying a revisit. More about the date, as Discogs had it listed as from 1976. For my correction submission notes, I added: "The dates on the label say 1976, but inside the gatefold it is 1977. Further, keyboardist Keith Parkinson offered this on RYM: "This album was recorded in 1975. Unfortunately, this was shortly after the release of a book about Nostradamus. The author of the book tried to sue Decca for copyright infringement. The author was unsuccessful but this delayed the release of the album till January 1977.""

In reading this, Parkinson (who was responding to my review actually) clearly was making the argument the album was relevant for 1975, but I'd beg to differ. It really does sound like a Moody Blues album circa 1971, had they focused on a prog rock theme, versus striving for hits.

I find music like this enjoyable from a nostalgic perspective, including the sentimental melodies. I suppose a band like Strange Days, heck even Kestrel, were peddling this kind of sound as late as 1975. So I can see Parkinson's point of view a little better. It's a nice title, one that I will certainly hold onto. Yet it would be a long time before I pulled this out as a supreme example of prog rock of the 70s.

Of interest, in the olden days of the rare prog catalogs, this album was sold with the title First Aid by the group Nostradamus. In fact, I think I bought my copy with that designation.

Ownership: 1977 Decca (LP). Gatefold. Acquired in 1995.

1995; 2/19/11 (review); 9/29/26 (update)

No reissues exists as I enter this on 9/29/26.

9/29/26 (new entry)

Nektar ~ England

Remember the Future (1973)

I recently read someone comparing Remember the Future to Jethro Tull's Thick as a Brick. I thought that was very insightful. He was clear in stating the music wasn't similar, but rather the idea of two side long cuts forming one composition, and from veteran bands. Both who seeked out a new musical landscape for themselves. As noted on the Journey To the Centre of the Eye review, Nektar were very much a UK styled space rock group. With some German sensibilities, but not a Krautrock band really. I have yet to review A Tab in the Ocean but my recollection is that Nektar was beginning to turn the dial from space rock to prog rock, and likely hit their peak in doing so. They are now on the prog rock side of the lake. Many point to Pink Floyd as an influence here, but I just don't hear it. Floyd never had this kind of urgency in their music. Or at least not since their 60s psychedelic freakout days.

I appreciate the focus on songwriting here, and I like the way the album flows, though it isn't really coherent. I don't hear a central theme, the music just goes from one idea to another, similar to modern prog metal bands.

The more generalist RYM has this as Nektar's highest rated album. Interesting then, that the two prog leaning sites Gnosis and ProgArchives favor A Tab in the Ocean. I'm not sure where I land, though it's almost certain Tab will be my favorite too. Second place? At the current time I'm thinking both Journey Eye and Recycled get the edge here.

Ownership: 1973 Bellaphon (LP). Gatefold with lyrics and photos. Back cover has recording details. Acquired in 1990.

1990; 2002; 9/26/26 (review)

 

Recycled (1975)

I've referred to this album a couple of times in my reviews below. Essentially Recycled is a progressive rock comeback album, done at a time when such things would have been rare. It was to be a one-off relapse, as it were, and a darn good one at that. Starting with a symphony of tympani, Nektar makes no bones about the fact that they intend on going all-in for prog rock for the memories. Side 2) takes on an earlier outlook from the band, exploring space rock themes with a touch of funk, giving its only nod to commercialism. 

Ownership: 1975 Bacillus (LP). Poster insert. Acquired in 2015.

First copy: 1976 Passport (LP). Acquired in 1992.

1992; 12/31/12; 11/19/15; 12/16/25 (review)

Journey to the Centre of the Eye (1971)  

Given that Nektar were formed in Germany and the imagery they put forth on their debut, I have a tendency to lump this album in with Krautrock. As I mentioned on Emtidi's Saat album the other day, you know Krautrock when you hear it. And Journey to the Centre of the Eye isn't it. Later albums are more obvious on this front (being more overtly progressive rock), but the debut is more experimental. In a similar way that same era Pink Floyd and Hawkwind are. This is space rock through and through. Perhaps to its detriment. Some of the downtime portions could use some of that Krautrock atmosphere that's missing. It's still a darn good listen with 'Burn Out My Eyes' being a particular highlight. In fact Side 2 does overshadow the flip, leaving a strong impression afterward. Before last night, I would have argued that Journey to the Centre of the Eye is my favorite Nektar. Something tells me one of their next two will be now.

CD includes their 1972 single 'Do You Believe in Magic' and '1-2-3-4'. Both good tunes but not enough to keep the CD for. Both of these were extended on the Sounds Like This album.

Ownership: 1972 Bacillus (LP). Gatefold. Acquired in 1988.

1//88; 2/13/07; 8/26/23 (review)

Down to Earth (1974)

As with Magic is a Child, I hadn't actually heard Down to Earth until now. Or I probably did in snippets and walked away in disgust. This is exactly the type of album that would not have appealed to me at age 21, or 31, maybe even 41. But at 51, I hear it in a different way. Managing expectations is everything, and it's not unreasonable for someone to approach this expecting to hear the sounds of the album before (Remember the Future) or after (Recycled). In fact, the latter album probably has more to do with the negative impression in modern times, since it was rare for a band to make a "comeback" like that in the 1970s. Just about every progressive rock band found their way to commercialism over time. 1974 was perhaps a bit early to jump the shark as it were, but in retrospect this album was actually ahead of its time, though I'm sure audiences back then were quite baffled by it. So in the end, had the band renamed themselves Ratken for this album, it probably would have been received better.

And after hearing it intently, I was quite surprised at how progressive it actually is. It's tighter and doesn't possess the long stretches of progressive space rock, so on the surface it seems less complex. 'Nelly the Elephant' is startling in that it sounds more like a horn rock track from 1970. It reminded me of the UK band The Greatest Show on Earth actually (circus themes?). 'Early Morning Clown' wouldn't be out of place on a Jonesy or Fruupp album. And 'That's Life' sounds like an outtake from Yes' Fragile session. In fact, only the relatively dull song 'Little Boy' ended up being a slight disappointment. This is a very good album to my ears, and I suspect will always be misunderstood. I can see I'm of the minority opinion on this one. OK, fair enough.

Ownership: 1974 Bacillus (LP). Gatefold. Quad. Acquired in 2023.

1/23/16 (review); 8/5/23

Man in the Moon (1980)

With Magic is a Child, I am admittedly somewhat an apologist for Nektar, stating it's a fine AOR album - with mild progressive tendencies - typical of the late 70s. Man in the Moon, on the other hand, pretty much blows from beginning to end. Why a band with a progressive space rock / prog rock background, needed to take sell-out radio era Supertramp and Journey as a blueprint is anyone's guess. Though the answer is obvious of course. Desperation. As in desperate to stay-in-the-game. And because of that, history will penalize this pathetic pandering to the masses. There are flashes of their old selves, especially on 'Torraine', but otherwise this sounds like a 50 year old boxer who says he has one last fight in him. "No... you don't". And this was the end of Nektar for 21 years.

Source: 2006 WHD (CD). Papersleeve edition.

5/17/16 (review)

Magic is a Child (1977)

Well, believe it or not, I'd never heard this record until now. And probably never would have, were it not a throw-in to another LP deal I just purchased. Good thing. Had I heard this 30, or even 20 years ago, I would have dismissed it out of hand. But with my ears today (oh these ears, I tell ya...), I hear exactly what Nektar was going for and honestly they did a great job at it!

And what they were going for was FM radio airplay. For whatever reason, the radio guys didn't feel there were any hits here. But I disagree, as seven out of the nine songs here could have easily caught on with the 1977 crowd. So yes, Nektar are a long way from their (recent) progressive rock past - and even further from their space rock roots. But this is still some fine sophisticated AOR, or what we used to call "pomp". A precursor to the neo-prog (later interpretation of said movement) sound honestly.

Good album if bands like Styx, Citadel-era Starcastle, City Boy, and others of its ilk appeal to you.

Ownership: 1977 Polydor (LP). Acquired in 2015.

12/6/15 (review)

Nektar reformed in 2001 and have released an impressive seven albums since. Mostly to middling reviews, though my curiosity remains piqued. 

Also own: A Tab in the Ocean (both versions)

12/6/15 (new entry)

Pink Floyd (& related) ~ England

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

David Gilmour (1978)

It feels odd listening to this album for the first time on cassette. Strangely that's the only way I've found it in the wilds. No CD or LP. I'm talking thrifting and garage saling here. I have plenty of opportunities to overpay at a record store, believe me. This album came out when I started listening to FM radio intently, so I have to say it seems like I've heard most of it before. But it's been ages. The album is largely derivative of the Pink Floyd sound of the era. One can hear Dark Side, Animals, and The Wall in these grooves. Gilmour has always had a bluesy bent to his guitar playing, and that remains the highlight of this album as well, especially the opening instrumental, B2, and B4. The songs tend to drag, even the much heralded 'There's No Way Out of Here', a track they played every hour back in the late 70s.

1978 Columbia (MC)

9/24/26 (review)

Richard Wright - Wet Dream (1978)

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

1978 Columbia (LP)

4/8/25 (review)

The Division Bell (1994)

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

1994 Columbia (CD)

2/26/25 (review)

Obscured by Clouds (1972)

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

---1/26/26

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

1972 Harvest (LP)

8/13/24 (review)
 

The Piper at the Gates of Dawn (1967) 

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

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

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

1985; 7/21/23 (review)  

Wish You Were Here (1975)

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

Ownership: 

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

2000 Capitol (CD)

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

1985; 2/15/23 (review)

Ummagumma (1969)

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

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

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

Ownership: 

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

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

1985; 8/7/22 (review)

Animals (1977)

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

Ownership: 

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

1995 Columbia (CD). Acquired in 1996.

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

Meddle (1971)

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

Ownership: 

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

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

The Early Tours '70-'71

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

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

7/7/21 (review)

More (1969)

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

Ownership: 

1973 Harvest (LP). Acquired in 2026.

Capitol (CD). Acquired in 2025.

7/13/21 (acquired / review)

Relics (1971)

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

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

6/20/21 (review)

Albums I own: A Saucerful of Secrets; Atom Heart Mother; The Dark Side of the Moon; A Momentary Lapse of Reason; two different multi-disc bootlegs

Other albums previously owned: The Wall; The Final Cut; Delicate Sound of Thunder

8/28/21 (new entry)

Runaway Totem ~ Italy

Zed (1996)

Runaway Totem are one of those bands where I've dismissed more albums than I've embraced. Their primary stock-in-trade is Zeuhl, one of my favorite forms of progressive rock music, which makes that a curious conclusion. And I started with them at the beginning, and I still think Trimegisto is an unheralded masterpiece. I purchased Zed not long after release, but it never resonated as much with me, though I did enjoy it. Nonetheless I sold it some years back. I never had it on LP, and when a friend recently offered it up for trade, I thought why not hear it in that format. Let's see if my perspective changes.

I'm not one to usually call out sound differences between vinyl and CD issues, but it does seem to have more bass depth than I recall from my last listen six years ago. Without having the CD here for comparison, that could just be positive thinking.

What I really enjoyed about the debut is that it possessed some nutty Italian styled prog breaks. Zed has none of that and is full on oppressive styled Zeuhl. Complete with orchestra and choir-like voices. The heavy guitars and synthesizers remain. Though it's clearly Zeuhl, it really doesn't remind me of any particular French, Japanese, or American band operating in this space, Magma being the closest. The vocals are very different from the latter, creating separation. And on Zed, Runaway Totem stays in build up mode for most of the recording, not letting themselves go as they did on their debut. Or as Magma themselves would. There is some doom metal styled riffing on the B side, which is a welcome reprieve.

I was borderline on this album when I had the CD. I think the LP, and my long history with the album, puts it back into the collection. Even though my rating remains the same. Interesting to note that you can still get this LP new here in the States for relative cheap. Not too many CD-era 90s underground LPs are going for a song these days.

Ownership: 1996 Black Widow (LP). Gatefold. Inner bag with lyrics and recording details. Acquired in 2026.

First copy: 1996 Black Widow (CD). Acquired in 1996. Downsized in 2020.

1996; 6/16/13; 7/4/20; 8/28/26 (review)
 

Affreschi e Meditazione (2012)

A very odd new release for Runaway Totem. Those coming to this album looking for their trademark Zeuhl sound will be sorely disappointed. It's mainly an electronic album (heavy on the brass sounds) with acoustic nylon guitars, all heavily filtered - and could almost be considered an ambient release. There are a couple of rock moments, with Italian vocals, but overall this one is a real curveball. That's not to say it's a bad album - it is indeed a very forward looking and progressive release in the truest meaning of the term. Not sure where I stand on it. Definitely not what I expected so I stand confused. 

Former ownership: 2012 Lizard (CD). Acquired in 2013; Downsized in 2018.

5/9/13 (review); 3/15/18

Also own: Trimegisto; Le Roi Du Monde

Previously owned: Andromeda; Manu Menes

5/9/13 (new entry)

Kansas ~ USA ~ Topeka, Kansas

Power (1986)

After Drastic Measures, it seemed Kansas had run their course. Long time members Ehart, Williams, and Walsh carried on, and significantly added Steve Morse on guitar to replace the band's thought leader Kerry Livgren, who took fellow Christian born-againer Dave Hope with him. And the trademark violin remains without presence. It was also time to say goodbye to their long term relationship with Columbia and they signed on with MCA. It was a new beginning.

I remember seeing the cool album cover when it first hit the shelves while I was in college. It certainly looked like it might be a return to their progressive rock form. I presumed it probably wasn't considering no one was going back to their prog rock roots in 1986 (except, bizarrely, Supertramp). After all these years, I'm finally sitting down to hear Power for the first time.

The album opens up promisingly enough in a hard rock, almost heavy metal way. Steve Morse certainly seems to have brought the band back to life with his energetic performance. Once Walsh's made-for-radio voice begins, it becomes clear that this will be another attempt at AOR fame and fortune. Unlike Drastic Measures, Kansas offers more on Power for long time fans. A5 is a solid fusion number, pointing to Morse's Dixie Dregs heritage. B1 is an actual bonafide proggy instrumental proving they still had it in them beyond the concert experience. They slip in some fine hard rock and prog throughout, though it's subtle and never dominates the pop song underneath. The closer B5 is painful to listen to.

Not a bad record at all, though hardly one to extend Kansas' legacy. It clearly is a product of the hapless middle 80s, especially for groups not flourishing in the underground at that time. It did, however, provide a lifeline to a moniker that lasts until this day. One that continued to evolve. More to come from UMR on that.

Source: 1986 MCA (LP)

8/28/26 (review)
 

Kansas (1974)

It all starts here for our boys from Topeka. One of America's great treasures, a band whose legacy continues to grow as the naysayers die off. The latter mostly those that were from the same generation as the Sunflower state group. As noted endlessly by me, no group on an American major label was going to be allowed a full album of long form progressive rock music. Hits were demanded and expected. They were more lenient in 1974 than 1977, but nonetheless one has to deliver, or take a hike. With nothing more than true grit, the band toured the fruited plain endlessly and gained enough of a cult following to keep the execs at bay while they kept trying for that one magical song to make them megastars. Each album sold just enough to survive, until they finally hit paydirt with Leftoverture. Their debut illustrates this as much as their next two opus'. They went for four commercially oriented tracks against four overt proggers, mostly tossed in at the end. The FM potential went nowhere, but the US fans of the big UK prog acts came out in favor. The formula largely stayed the same, it was just a matter of catching the popular ear of the day. The talent was always there, it was the fickle public that had to adjust. And they finally did. But not here. 

Ownership: 2004 Epic / Legacy. Booklet with historical liner notes and photos. Features one lengthy live bonus track. Acquired in 2011.

First copy: 1974 Kirschner (LP). Acquired in 1985.

1985; 12/7/11; 5/17/15; 10/24/19; 8/13/26 (review)
 

Masque (1975)

Of all the Kansas albums from the 70s, Masque is the album I'm the least familiar with by some measure. And that includes Monolith. In fact it doesn't appear I owned a physical copy of this until 2002, also the odd album out. One of those "slipped through the cracks" deals. It's obvious from the opening two songs that Kansas is dialing back the complexity of Song For America. They're clearly in hard rock territory, trying to figure out where they belonged in the American rock landscape. Hard rock was far more popular over here than prog, at least for local bands. They had yet to have a hit song to their credit, despite intense pressure to create one, and that wouldn't occur here either. It would be their next opus that assured Kansas their place in rock history. I think it's telling that the hype sticker on my CD states: "Long out-of-print gem from one of America's great rock bands". Note which four letter word is missing. Nonetheless it didn't stop the band from adding in some proggy long tracks, namely 'Icarus', 'Mysteries and Mayhem', 'All the World', and 'The Pinnacle'. While not reaching the heights of Song For America or Leftoverture, Masque certainly is a credible and enjoyable album, not demonstrating a slump or a major deviation of their sound.

Ownership: 2001 Epic Legacy (CD). Contains a history, photos, and two bonus tracks. Acquired in 2002.

2002; 5/3/16; 10/27/25 (review)

Song for America (1975)

When I first got into music via FM radio in 1977, Kansas was not a favorite of mine. Time and place plays a major role in one's development, and this includes music appreciation. Point of Know Return was extremely popular upon release, and the title track and 'Dust in the Wind' were played incessantly. Neither swayed me much back then. I wasn't annoyed, but it was tiresome. I did like 'Carry on Wayward Son' from their previous Leftoverture album, but that was a whole year old! lol. Progressive rock was still a few years away for me and their brand of AOR wasn't that appealing either. A high school buddy, he himself a musician, was a huge Kansas fan. I credit him for encouraging me to hear them differently, especially their early albums. And by late high school I was already immersing into progressive rock anyway. It wasn't until college that I eventually picked up their albums through, ironically, Point Of Know Return. And to this day, those albums they released while I was actually in high school (1979-1983) had no impact on me. That is to say at the point I was introduced to the band is also where they declined. Not really an uncommon story when you consider that I got going in the late 70s just at that point where bands were moving (forcefully or willingly) to more commercial waters. It really wasn't until the 2000s that my appreciation for Kansas began to accelerate. Today I consider them something as magical, a group who represented what American progressive rock could have been. They were about the only one that transcended to the major labels and had blockbuster radio hits. And many of us know by now just how many great bands there were in this country, but most didn't even get a chance to record, and those that did were released in tiny numbers. This blog is full of those albums and archival releases.

Today, the album I'm reviewing here, along with the aforementioned Point Of Know Return and Leftoverture, is considered their best album. That was not the case in 1977, no way and no how. Perhaps the latter two, but Song for America? It was as relevant as Foxtrot was to And Then There Were Three. Like I said: Time and Place. 

Song For America is arguably their most progressive album, at least as we define the term today. Like everyone else in the States, Kansas took as a blueprint all the major UK prog bands, and then added those regional qualities that makes the subgenre so exciting to explore all these years later. Ten minute title tracks and the 12 minute 'Incomudro - Hymn to the Atman' was just not something many American bands had a chance to record. For Columbia no less. And there's really no duff tracks to hedge their bet either. Kansas were all in for prog rock, and their legacy will only continue to grow because of it. The younger generations, who do not have the baggage of the era, can listen more objectively and hear Song for America as it was intended. It's also worth mentioning that Kansas could also be considered a hard rock band, and had they trimmed the complexity level, they would have been top of class in the Midwestern hard rock sweepstakes. And local competition was even more fierce in that field back then.

Interesting to see the photos of the band. Their look was "of the era". Had they tried to break in during the 80s, they never would have gotten in the club door, much less recording time at a major studio. Three of the guys are decidedly overweight, Livgren looks like a sad old dog, with only Walsh and Ehart appearing telegenic (maybe). Metallica, Nirvana, and the rest of them were able to erase that stain for the 90s and beyond, but it's unfortunate that the 80s were so superficial in that way. How many great bands never got anywhere because of their appearance? Of course you could say that about a lot of things outside of music too. 

The CD adds a single edit of the title cut plus a live rendition of 'Down the Road', neither offering up any revelations.

Ownership:
2014 Friday (LP). Gatefold. Acquired in 2023.

2004 Epic Legacy (CD). Booklet with history, photos, and two bonus tracks. Acquired in 2012.

First copy: 1975 Kirshner (LP). Acquired in 1985. Reacquired in 2022. Downsized in 2026.

1985; 8/11/12; 9/22/25 (review)

Drastic Measures (1983)

I'll be spinning up a Kansas page eventually (done) but I don't want to start here. As the years have passed by, my admiration for Kansas has gone considerably up to the point where they've become one of my favorite bands. Their story is remarkable and what they were able to accomplish in a very hostile American commercial market is nothing short of incredible. Something I would not have understood when they were still relevant in the late 70s. But even they couldn't stop the tide that was to be the 80s. Generally considered their worst album, Drastic Measures sees Kansas try very hard to be in the same league as Journey, Boston, and REO Speedwagon. But it's just not for them. The group is only two thirds of the classic lineup, and even they were close to splitting up. The ride was over. Objectively speaking, Drastic Measures is no better or worse than many of the bands operating in the same tight space that was the 1983 AOR landscape. Interesting to note that this album was released in July of 1983. One month later was Metallica's Kill 'em All. The music world was a changin' fast.

Source: 1983 CBS Associated (LP)

5/7/25 (review)

Other albums I own: Leftoverture; Point of Know Return; In the Spirit of Things; Freaks of Nature; Always Never the Same; Somewhere to Elsewhere; The Prelude Implicit; Early Recordings From Kansas (Proto-Kaw)

Other albums once owned: Monolith; Audio-Visions; Vinyl Confessions

9/22/25 (new entry)

Camel ~ England

Stationary Traveller (1984)

Yet another Camel album I hadn't heard before. I recall seeing it in the import bins during the 80s, but instincts told me to avoid it. Certainly the right move for the time. I would have immediately dismissed it as a pop record, and not the kind of prog rock I was looking for.

At this point, Camel is something of an Andy Latimer solo effort with industry veterans (Kayak, Alan Parsons Project, King Crimson) backing him up. The album starts off promisingly enough with an instrumental featuring the Fairlight synthesizer and Latimer's excellent guitar. After this, the music is defiantly 80s styled AOR, with a prog sensibility. If listening to music like this with the same lens as the Canadian band Saga, then it works better than expecting the next Mirage to come through your speakers. There are four instrumentals overall which also helps balance the boom boom bash of the pop oriented tracks. Without a doubt it's Latimer's guitar that brings life to Stationary Traveller. I think this is one of those albums that could be classified as "good for 1984, especially from an established UK prog band". Overall a solid pop progger, with excellent instrumental work, though not something I need to keep. 

Curiously, Stationary Traveller is one of their higher rated albums on RYM, and their best since Moonmadness. I think it's a bit of madness to rate this higher than Rain Dances, but OK. ProgArchives isn't quite as optimistic, but still rated higher than Breathless, which I won't agree to either.

Source: 1984 Decca Netherlands (LP)

8/26/26 (review)
 

The Single Factor (1982)

Another one of those albums I could have sworn I wrote about, but guess not. It was only seven years ago I found a copy in my early days of thrifting around town. Didn't hear any redeeming qualities and off it went.

This was part of the newly acquired collection, and a super nice copy at that. So let's get some virtual pen to paper here. Most certainly the title of this album is what you would call a clue. Those first two tracks are nothing more than radio bait. When I think of Camel, I think of quality songwriting. So, honestly, they probably should have made a dent in the corporate FM scene. Perhaps they were too far into their career to have any mojo left by 1982. The third song begins to show their progressive past, but in an Alan Parsons Project way. Since the vocalist is none other than David Paton, then that should prove to be no surprise. This is followed by a mellow and soothing instrumental. Andy Latimer definitely adds some soul to his guitar playing. This side closes with the even more mellow only-on-the-right-speaker 'Lullabye'. Side two starts off promisingly with another instrumental, more upbeat this time with fine keyboards from Peter Bardens (oh, there you are). B2 is arguably the heaviest track here, and even Mr. Mellow himself, Anthony Phillips, is participating on keyboards. After this, they ran out of ideas and threw in two pop rock hopefuls. B4 is pretty bad honestly. They close side 2 in a soft manner similar to the flip.

The Single Factor did indeed prove to be better than my initial impression. Though not even close to shelf space I'm afraid.

Source: 1982 Passport (LP). Lyric inner bag that also informs us that drummer Andy Ward does not appear because of a serious injury to his hand (though that was obfuscating the truth).

8/2/19; 1/23/26 (review)
 

A Live Record (1978)

I hadn't heard this prior, and rarely these days do I have the patience to sit through two albums worth of live material that I'm largely already familiar with. A Live Record passed the key test: Is it unique enough from the studio versions for repeat visits? And I'd submit yes it is. Solid representation from their five previous studio albums, with one album dedicated to The Snow Goose suite.

Ownership: 1978 Decca Europe (2xLP). Gatefold. Acquired in 2024.

6/24/24 (review)

Rain Dances (1977)

Rain Dances, Camel's 5th album, is where Camel wandered over the line from all-in progressive rock to that of AOR / FM music. Well sort of. They could be considered what is now known as Yacht Rock, or even more to the point, Yacht Prog. So yes, you can place Camel now in the company of Fruupp, Kestrel, Sebastian Hardie, and the rest of them. Latimer gives the game away on the back cover, though they are a bit scruffy to allow on the boat it would seem. Maybe they can work in the steam room?

If we're honest, Camel had always leaned in to the melodic side of the house. Herky-jerky rhythms and impossible compositions were never their forte. They just mastered their craft better here. And I have to think Latimer spent a little time digesting some of Santana's guitar licks before heading into the studio. Adding Canterbury stalwart Richard Sinclair was the right move at the right time. One of the few British singers who actually sounds like he lives there, his soothing tone is perfect for the soundscapes Camel are painting. There are a couple of overt plays for radio that didn't really stick (I can't recall ever hearing Camel on the radio growing up in the late 70s), but they aren't soaked in saccharine pathetic whining, like so many of their peers were prone to do. They were to dive deeper into these waters on the also excellent Breathless, but even more brazenly commercial than here. The deal is, Camel were just damned good songwriters and musicians, so they were able to pull it off. I'd submit much better than Genesis did, though the latter clearly captured the corporate market far better. There's no accounting for good taste, now is there?

Ownership: Deram (CD). With historical retrospective and one single edit bonus track. Acquired in 1996.

1996; 2004; 6/14/20; 3/9/24 (review)

Mirage (1974)

The other day I was talking with local collector and friend Dr. Boom about Camel, and he indicated that he wasn't too enamored with them. "Too lightweight for me" he opined. That's unfortunately a common perception and criticism that Camel gets tagged with. Even for myself, when I think about Camel, it does occur to me they are on the softer end of the progressive rock spectrum. But are they really? I think Snow Goose and their later works adds to this notion. My introduction to Camel was via this LP, and thank goodness for that. For me it's a foundational album to my overall appreciation of music. I suggested to him that he at least revisit Mirage. Especially side 2. I think you'll walk away with a different experience. We'll see if he takes me up on that suggestion.

For my tastes, Mirage is in my Top 50, and maybe even Top 25. 'Supertwister' seems to represent half of my late 70s and early 80s instrumental Continental European prog collection, such was the impact it had on a global scale. Though, in retrospect, it would appear they were influenced here by none other than Tonton Macoute. This track is not from the Jethro Tull school of flute driven prog. As noted prior, all of Side 2 is a barnburner. 'Lady Fantasy' is absolutely bonkers, and closes the album with the stereo in flames. Nothing lightweight about Camel here.

Ownership: 

1974 Janus (LP). This is one of the very rare times where I prefer the US artwork to the European original when they are different. Acquired in 1984.

1974 Deram UK (LP). Acquired in 2015.

2002 Deram UK (CD). With liner notes and four live bonus cuts that total ~29 minutes. Acquired in 2002.

1984; 2002; 1//05; 6/23/06; 1/15/14; 1/19/24 (review)

Breathless (1978)

Continuing the transition found on Rain Dances, Breathless is even more geared toward a commercial sound. In retrospect though, there's plenty of thoughtful progressions within the tight confines of their pop songs. Vestiges of their progressive rock past can be found here as well, in particular 'The Sleeper'. 'Summer Lightning' sounds like an updated and disco'd up 'Winter Wine' from Caravan's classic In the Land of Grey and Pink. Of course, now having Richard Sinclair on board has a lot to do with that perception. 

Ownership: 1978 London Japan (LP). With giant poster. Acquired in 2020.

First copy: 1978 Arista (LP). Acquired in 1984.

1984; 12/10/20 (review) 

Other albums I own and need to review: Camel (1973); The Snow Goose; Moonmadness; I Can See Your House From Here; Nude

1/6/23 (new entry)

David Sancious ~ USA

Forest of Feelings (1975)

Time to spin up a David Sancious page. He's an artist I've been aware of since the 1980s, but haven't really dug too deep into his catalog. I did write a couple of journal entries, which we'll process below.

I've long been a fan of Windchase's 'Glad To Be Alive'. I did not realize Mario Millo had borrowed the primary melody from the opener here 'Suite Cassandra'. I'm not sure he knew it either, but likely subconsciously reproduced it, and embellished with vocals. I tend to categorize Sancious with jazz fusion, but here he's clearly operating in prog rock territory. Comparisons to ELP are largely superficial, only in that Sancious gets in plenty of analog keyboard solo time over a solid rhythm section. The music is more towards what we might hear coming out of Western Europe. That is to say, less commercial, but very melodic all the same.

A3 is a proto new age piece, somewhat like Vangelis and Deuter. A4 is a crazy classical interpretation. I could swear there was mellotron on it too, though AI is refuting that claim.

Side 2 is, if anything, more energetic and prog oriented than the flip. There's hints of fusion here, primarily in Sancious' keyboard and guitar solos. As with Just as I Thought, I'm compelled to give this a +2. Considerably better than my memory had it.

Ownership: 1975 Epic (LP). Acquired in 2026.

8/17/26 (review)

David Sancious & Tone - True Stories (1978)

Alex Ligertwood's vocals are annoying here and the progressive rock attempt is too forced. I was somewhat disappointed in this effort, especially considering I like his albums prior. (I'll try to get some more words around this. I think the LP is still here, nobody bought it lol).

Source: 1978 Arista (LP) Promo.

6/21/24 (review)

Just as I Thought (1979)

David Sancious was always an odd bird, sitting somewhere in no man's land between symphonic progressive rock and jazz fusion. Just as I Thought closes the book on this phase of his career. His next album The Bridge is nothing more than introspective piano numbers. Not for me. But this album is excellent. The title track and 'Suite (For the End of an Age)' represent the progressive rock numbers. 'Valley of the Shadow' is highly unique, a mixture of fusion, prog, and electronic. For me, the highlight of the album. Opener 'Run' and the last two tracks offer up the typical fusion of the era. The vocal track 'Again' and the acoustic 'The Naked I', can be skipped, and they're conveniently back to back. This isn't my first time to hear Just as I Thought, and this ended up being a +2 listen.

Ownership: 1979 Arista (LP). Acquired in 2021.

5/10/21 (review)

Also own: Transformation; Dance of the Age of Enlightenment

Previously owned: The Bridge

8/17/26 (new entry)

High Tide ~ England

Sea Shanties (1969)

High Tide's debut is arguably the heaviest album to be released up to that point in time, even predating the first Black Sabbath album. Perhaps Blue Cheer's Vincebus Eruptum comes first chronologically, though High Tide seems more professional. Tony Hill sets the amps to 11, while Simon House destroys his poor violin into oblivion. Like the first Stray album, the group's primary focus is on long and intense jams. There just wasn't anything else like this on the market, especially on a major label. Guess the execs thought it was worth a shot. Probably didn't work out commercially speaking, though clearly High Tide were leagues ahead of their time.

Unlike their second album, High Tide does appear to take the time to put together a composition or two, though it doesn't seem like they were patient enough to let them breathe before pummeling the listener with some more distortion. I love their sound and its relentless. I'm not sure anyone sticks around until the end, but the last track is truly complex progressive rock.

Ownership: 1994 Repertoire (CD). Booklet with liner notes. Acquired in 1996.

First copy: 1969 Liberty USA (LP). Gatefold. I'll get this one back eventually. May even splurge for the UK original. Sold it long ago when US commodity pressings like this weren't worth much. How times have changed. Acquired in 1988.

1988; 1996; 6/2/16; 8/7/26 (review)
 

High Tide (1970)

High Tide were a well known UK heavy primarily instrumental rock group with powerful guitar and violin leads. The Eclectic / Esoteric CD is a must own just to hear the near 16 minute 'The Great Universal Protection Racket', which was recorded with the same sessions as the others on the album and was a last minute cut due to time constraints. And it's as strong as the other material, maybe even a little better.

---5/22/26

For 1970 England, it was rather unusual for such long jamming sessions, especially on a major label. Tony Hill and Simon House are battling it out on guitar and violin with the rhythm section creating a racket behind them. This is at least a full year before the Krautrock movement got going in full force, and it's there that you might here this kind of unhinged ripping. Perhaps Amon Duul II was in this league by then, though I don't get the impression that High Tide were stoned out of their minds. It doesn't have the gravitas we hear from their neighbors. Blissful jamming I'd conclude. Vocals are an afterthought though they suit the music well. It's telling that High Tide never released a single in an era when that was expected.

There's more material on the bonus tracks than the album proper. Roughly 35 minutes, in fact. Though two of them are just different mixes (or takes). I mentioned 'The Great Universal Protection Racket' in my initial notes, and it does stand out. It feels more composed than the other three jams that made the album proper. Has more of a prog rock approach than psychedelic. Until they throw away the rule book about halfway through, and get back after it. 

After this you're likely to feel a bit exhausted, as the music is relentless without much of a breather. It appears the final bonus song 'Ice Age' was the last recording from the original incarnation of High Tide (not sure if it predates the Precious Cargo sessions). It definitely was more song focused. Would have been interesting to hear them develop this style further.

If psych jamming isn't your bag, then it's probably a good idea to steer well clear of this title. I think if one considers the era in which it was released, it's quite an extraordinary accomplishment. 

Ownership: 2006 Eclectic (CD). Booklet with a full history and photos. Contains four bonus tracks. Acquired in 2011.

First copy: 1994 Repertoire (CD). Acquired in 1994. 

1994; 7/26/11 (review); 5/22/26 (update)

Also own: Ancient Gates

Previously owned: The Reason of Success; The Flood

7/26/11 (new entry)